A Quote by Wendy Ewald

I wanted to make photographs that were immediate and revealing - different from traditional portraiture that called for formal distance between artist and subject.
In every work of art the subject is primordial, whether the artist knows it or not. The measure of the formal qualities is only a sign of the measure of the artist's obsession with his subject; the form is always in proportion to the obsession.
A photographic close-up is perhaps the purest form of portraiture, creating a confrontation between the viewer and the subject that daily interaction makes impossible, or at least impolite.
Allowing for exceptions, there is still one basic difference between the traditional arts and the mass-media arts: in the traditional arts, the artist grows; in a mass medium, the artist decays profitably.
I am not much interested in discovering new territories to photograph. Instead, what I wish my pictures could do is lessen the distance one often feels when looking at landscape photographs... The longer I work, the more important it is to me to make photographs that tell my story as a participant, and not just an observer of the land.
I went back to photography in the 1990s. But from the 60s to the 90s I didn't really take any photographs at all, unfortunately. During that period I lived in France, I lived in England, I lived all over the place in different cities. I didn't take any photographs and because I felt I had really accomplished everything that I wanted to in photography during the period between 61 and 67.
The media is uncritical, and their so-called the concept of objectivity translates into keeping everything within the Beltway. However, Iraq was quite different. Here, there were flat-out lies, and they sort of knew it. They were desperately trying to make connections between Saddam Hussein and 9/11.
I never wanted to be called a fan, and that's no disrespect to any artist who calls them fans, but I never wanted a boundary in between the people listening to my music and me - for them to feel like I'm doing something that they can't do.
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.
Love requires that we overcome the traditional and self-defeating fears that place distance between ourselves and others.
Early in school, they called me 'the artist.' When teachers wanted things painted, they called upon me, they called upon 'the artist.' I am not saying that I learned my name, animals can learn their names, I am saying that they learned it.
I always wanted to sing, I always loved to sing. As a child I was singing all the time, and my parents were singing all the time, but not the traditional songs because they were very Christian; the Christian Sámis learnt from the missionaries and the priests that the traditional songs were from the Devil, so they didn't teach them to their children, but they were singing the Christian hymns all the time. So I think I got my musical education in this way. And of course the traditional songs were always under the hymns, because it doesn't just disappear, the traditional way of singing.
I never wanted to be called an artist. I wanted to be called a photographer.
The photographs that excite me are photographs that say something in a new manner; not for the sake of being different but ones that are different because the individual is different and the individual expresses himself.
Ah! Portraiture, portraiture with the thought, the soul of the model in it, that is what I think must come.
I wanted to make a video for the holidays, but none of the traditional holiday songs were moving me.
I really set out to do this traditional looking and traditional sounding multi-cam sitcom, but then make the world as elastic as an animated show could be. Make the world as surreal as we wanted it to be.
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