A Quote by Stephen Shore

With a painting, you're taking basic building blocks and making something that's more complex than what you started with. It is a synthetic process. A photograph does the opposite: It takes the world, and puts an order on it, simplifies it.
[When] I am taking a photograph, I am conscious that I am constructing images rather than taking snapshots. Since I do not take rapid photographs it is in this respect like a painting which takes a long time where you are very aware of what you are doing in the process. Exposure is only the final act of making the image as a photograph.
One of the magical things about photography is the transformation that takes place when you photograph something. Something that inherently has very little going for it in terms of the interest you take in it, can become infinitely more interesting when rendered as a photograph. It's no longer a building. It's a photograph.
My explorations of the technical world started with Legos, with which I was quite creative in constructing moving objects with the basic building blocks that were then available.
If you ask people to remember a painting and a photograph, their description of the photograph is far more accurate than that of the painting. Strangely enough, there is a physical element intertwined with the painting. It shakes loose an emotional element within the viewer.
Order is not sufficient. What is required, is something much more complex. It is order entering upon novelty; so that the massiveness of order does not degenerate into mere repetition; and so that the novelty is always reflected upon a background of system.
The pathway to a more sustainable future for all children must include access to the basic building blocks of good health, including nutrition, water, and immunizations.
What I try to do in the book is to trace the chain of relationships running from elementary particles, fundamental building blocks of matter everywhere in the universe, such as quarks, all the way to complex entities, and in particular complex adaptive system like jaguars.
When you work with a band, obviously you've got to present them with something they can get a hold of, so it has to be a little more fleshed out as a song. And then where it goes is more collaborative, obviously; it's more political possibly, certainly more a conscious process than a subconscious process, which the painting can be.
Does getting closer to the subject make the photograph more intimate? I'm sure it takes more than that. What comes next? The face, the nude? That's what I'd love to do. Who would even let me do that?
Manners are the basic building blocks of civil society.
Before I started working on a computer, writing a piece would be like making something up every day, taking the material and never quite knowing where you were going to go next with the material. With a computer it was less like painting and more like sculpture, where you start with a block of something and then start shaping it.
A gentleman is one who puts more into the world than he takes out.
I was always telling myself I could handle a more complex role, I could handle something bigger and more interesting than the work I was doing. But I wasn't demanding that of myself. At a certain point, I realized it was never going to come my way unless I started taking more control of it. That's what I realized I had to do.
Building your "dream life" is filled with things that can feel like the opposite of a dream: Mistakes Delays Starting over Failure The building part is actually more of a rebuilding that is a continual process. The building is not linear in nature but far more interesting. You might start a creative dream, take the "next step", and find yourself completely bored, dissatisfied, or just not inspired.
While a painting, even one that meets photographic standards of resemblance, is never more than the stating of an interpretation, a photograph is never less than the registering of an emanation (light waves reflected by objects) — a material vestige of its subject in a way that no painting can be.
Whether a watercolor is inferior to an oil [painting], or whether a drawing, an etching, or a photograph is not as important as either, is inconsequent. To have to despise something in order to respect something else is a sign of impotence.
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