A Quote by Sam Abell
First of all, I appropriate photographs.In presenting the Richard Prince photograph I tried to be as neutral as I could be. I put down the fact of it. I wanted it to be the same thing he wanted it to be, an open ended invitation to think about authorship, and who owns a created work. So I pair it with my appropriated picture.
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There are a lot of ways to talk about the life of a photograph. You can talk about the afterlife of a photograph, and in the end I talk about that, with the Richard Prince picture. But mainly, what I dedicated the book to being about was how photographs begin their life, and where they begin it. And they begin it with the photographer's imagination and instinct and experience.
The only times we are consciously aware of the authorship of a photograph, I would argue, are when we contemplate the photographs we ourselves have taken (or those of friends and family) or when we go deliberately to the photographers monograph or exhibition. The signed image - the appropriated, the owned image - is by far the rarest in this pullulating world of pictures.
I always say to people, the Eighties were so inventive because people wanted to stand out. By the time we got to the Nineties, everyone wanted to fit in. It was all about having the same pair of trainers and the same pair of jeans. That's fatal. Whereas the Eighties you would never be seen in the same pair of jeans that somebody else was wearing.
There are two kinds of photographs: mine and other people's. I never think of what I might do myself when I look at someone else's pictures... there is no subject in the world I have ever wanted to photograph. It's the picture, not the object, that is important to me.
I just really wanted to do art, except when I was taking those photographs of people I would make the clothes that I would photograph them in so I could control the whole thing.
A portrait is not a likeness. The moment an emotion or fact is transformed into a photograph it is no longer a fact but an opinion. There is no such thing as inaccuracy in a photograph. All photographs are accurate. None of them is the truth.
The reason I don't want to say anything about it is it has a strange power to take over the conversation. Just like it's doing with us. I was asked to participate in a documentary about Richard Prince, and be the voice of someone who was appropriated, and I declined. The reason I did is I don't want it to be the subject of the discussion of my work.
I think Americans is a very special nation that was created so that people could be free. And they could be free to believe what they wanted. They could be free to work as hard as they wanted, knowing that their labor would accrue to them and to their family, that there wouldn't be a lot of people impinging upon their freedom and telling them what they had to do, and that it would be a nation that was representative of the people, and that it would have a government that was representative of the people rather than one that tried to rule the people.
I wanted the past to go away, I wanted to leave it, like another country; I wanted my life to close, and open like a hinge, like a wing, like the part of the song where it falls down over the rocks: an explosion, a discovery; I wanted to hurry into the work of my life; I wanted to know, whoever I was, I was alive for a little while.
I wanted to make pictures that contradicted themselves. I wanted to put one picture on top of another so that there were times when both pictures disappear and other times when they were both manifest. That vibration is basically what the work was about for me - that space in the middle where there is no picture, rather an emptiness, an oblivion.
Saudi Arabia is so conservative. At first there were photographs of women I took that I couldn't publish - of women without their abayas. So I started writing out little anecdotes about things I couldn't photograph and wove it in with a more obscure picture and called it "moments that got away". I realised these worked as well as the photographs by themselves. There are a lot of photographers who feel the story is all in the photographs but I really believe in weaving in complementary words with the pictures.
I think, from a really early age, I just wanted to be an actress. And I ended up doing comedy because it was the thing that kind of, like, came out of my nature the most easily. But, I've always wanted to do as many different kinds of performances - whatever I could.
I wanted to tell the book thief many things, about beauty and brutality. But what could I tell her about those things that she didn't already know? I wanted to explain that I am constantly overestimating and underestimating the human race - that rarely do I ever simply estimate it. I wanted to ask her how the same thing could be so ugly and so glorious, and its words and stories so damning and brilliant.
But there is more to a fine photograph than information. We are also seeking to present an image that arouses the curiosity of the viewer or that, best of all, provokes the viewer to think-to ask a question or simply to gaze in thoughtful wonder. We know that photographs inform people. We also know that photographs move people. The photograph that does both is the one we want to see and make. It is the kind of picture that makes you want to pick up your own camera again and go to work.
When you finish a record, I look at it like a photograph. It's already taken. You got it the way you wanted it to be. You edit it, make sure the light and contrast are right, then you just put it away, and that's your photograph. Then you don't really think about it anymore.
I would have done the same thing I did. I would have put all my energy into loving someone that wasn't you. I would have tried in vain, every day, to not think about you, and what could have been. What should have been. I would have tried to convince myself that there's no such thing as true love, except for the love you yourself make work, even though I know better....The bottom line is I never had any business marrying anyone who wasn't you.
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