A Quote by Stephen Shore

I meet young artists and it becomes clear that with some the main motivation is getting a show in Chelsea. It strikes me that this is very different to the way it was for me, which was that I wanted to understand photography and the world and myself.
I wanted to be heard myself, which is hard in a household of people who were very showy. It forced me to find myself and define a personality and a way of being different, and that's a thing that's going to help me to survive in a world of many people playing the guitar.
One thing all the way through the show to me is boring. I don't care how great the artist is. I find that if my audience is very young, and they want to hear very young songs, my show will be dominated by that. But there'll be some ballads here and there and some swing tunes.
When I was younger, definitely getting people to listen to me and believe in me. I think it's hard when you're a young girl in a record label full of male urban artists, which is definitely what Atlantic Records was and still is. Also, getting people to trust a young, female pop star that doesn't just want to be puppeteered was definitely a challenge for me.
Photography for me has been tremendously good, because I'm not a very sociable person. I'm happy reading or sitting in the library or going for walks. So photography has brought me in contact with people and made me understand people in a way that I probably wouldn't have done if I hadn't been a photographer. And so I'm grateful for that, really.
To me, the main and most exciting thing about photography is to meet people. The picture is the result of what happened between me and them on the set.
There are only two ways for me to leave Chelsea. One way is in June 2010 when I finish my contract and if the club doesn’t give me a new one. It is the end of my contract and I am out. The second way is for Chelsea to sack me. The way of the manager leaving the club by deciding to walk away, no chance! I will never do this to Chelsea supporters.
We've got to be able to distinguish between dangerous individuals who need to be incapacitated and incarcerated versus young people who are in an environment in which they are adapting, but if given different opportunities, a different vision of life, could be thriving the way we are. That's what strikes me. There but for the grace of God. And that, I think, is something that we all have to think about.
I started to read James Baldwin very early on in my life. At a time, as a young adult in the Sixties, when there were not that many authors in whom I could recognize myself, he was an important guide and mentor to me as he was to many others. He helped me understand who I was and decipher the world around me. He gave me the words to defend myself and the argumentative rhetoric to master discussions with others.
I have a respect for Young Jeezy. But the reason things didn't work out for me and Young Jeezy was because our approach to the industry... My approach to the industry was a tad bit different than his. I wanted to approach my career a different way; he wanted to go a different way.
My biggest challenge was moving from photography to film without losing my way of working - which is very intimate and learning to collaborate with more people, since photography for me is a very solitary process.
I'm not good for you. I don't know why you make me want you so bad. I was angry with myself when I said all that earlier. I was mad because I wanted you in a way I'd never experienced before. Before you, I just wanted to excel in football and school. I wanted my parents to be proud of me. But now, I want other things too. You get to me in a way I don't understand
Yet some of my friends tell me they understand 50 percent of what my mother says. Some say they understand 80 to 90 percent. Some say they understand none of it, as if she were speaking pure Chinese. But to me, my mother's English is perfectly clear, perfectly natural. It's my mother tongue. Her language, as I hear it, is vivid, direct, full of observation and imagery. That was the language that helped shape the way I saw things, expressed things, made sense of the world
In the same way, photography, for me, has fragmented. You do have people doing bodies of work - often with found photographs - that are quite hard to understand unless you got a very sophisticated visual history behind you. But there are different camps.
The main thing that's important to me is getting to do whatever project it is the way that I do what I do, and that's different. To go to an entity - whether it's a traditional film studio or some newer company, or HBO, Amazon or Netflix - they would have to know that I need to work the way I work.
I started to read James Baldwin very early on in my life. At a time, as a young adult in the Sixties, when there were not that many authors in whom I could recognize myself, he was an important guide and mentor to me, as he was to many others. He helped me understand who I was and decipher the world around me.
I was lucky that I started very young, since I had a very clear idea of what I wanted to do. But my father is very conservative, and he never considered fashion to be a real career but something I could pursue as a hobby. He wanted me to be a doctor, and at one point, I thought of becoming a plastic surgeon.
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