A Quote by Lynne Ramsay

I don't need to own one but I like to look at Diane Arbus's pictures and anything by Jackson Pollock. — © Lynne Ramsay
I don't need to own one but I like to look at Diane Arbus's pictures and anything by Jackson Pollock.
Producer Ed Pressman had a book about Diane Arbus - it's the only biography that exists - and there had been many Diane Arbus scripts. Many. I don't even know how many over the years. And it's sort of a cursed project, for lots of reasons. There's probably some pile somewhere of all these weird attempts, all these portraitures that can't get made.
Giving a camera to Diane Arbus is like putting a live grenade in the hands of a child.
Regardless of how you feel inside, always try to look like a winner. Even if you are behind, a sustained look of control and confidence can give you a mental edge that results in victory. - Diane Arbus By letting it go it all gets done. The world is won by those who let it go. But when you try and try. The world is beyond the winning.
I still do all my developing and printing in my darkroom. Being in New York, you get tremendous exposure to great arts. In my student years, I saw exhibitions of August Sander and Diane Arbus. I still go back to their pictures. I don't really go for contemporary photo shows.
In some ways Lawler is a conceptual Diane Arbus. She's a stalker who takes advantage of situations. She pulls back curtains, causing normal things to look freakish and the freakish to turn mundane.
I'm fascinated by the way Diane Arbus saw things. She came from this fashion background and then twisted it.
There are days when everyone in the world looks like a Diane Arbus to me. She's a genius but her work is completely different to mine. But on those days I don't use my camera.
A lot of my friends were mostly working in black-and-white - people like Lee Friedlander, Diane Arbus, Garry Winogrand, and others. We would exchange prints with each other, and they were always very supportive of what I was doing.
What gave her [Diane Wilson] the courage? If you look at someone like Diane, it's easy to say, well I could never be like that. But we don't know. We do know that it's possible for a woman, who didn't grow up as a world changer, to find it in herself to take a stand.
Diane Arbus is one of the most mysterious, enigmatic, and frighteningly daring artists of the 20th century. Her work emerged from a deeply private place and profoundly affected all those who came into contact with it.
Unfortunately, there was no Jackson Pollock of the camera.
I quite like Jackson Pollock, and have a real gut reaction to it, so it does whatever it does to me.
The great photographers of life - like Diane Arbus and Walker Evans and Robert Frank - all must have had some special quality: a personality of nurturing and non-judgment that frees the subjects to reveal their most intimate reality. It really is what makes a great photographer, every bit as much as understanding composition and lighting.
Somebody can paint with a fine brush like Monet and do millions of little dots or somebody can splatter it up there like Kandinsky or Jackson Pollock and go "Yep, that's art." That's okay.
The moment of creative impulse is what an artist gives you. You look at a Pollock, and it can't give you the tools to do a painting like that yourself, but in doing the work, Pollock shares with you the moment of creative impulse that drove him to do that work.
A lot of my friends were mostly working in black-and-white-people like Lee Friedlander, Diane Arbus, Garry Winogrand, and others. We would exchange prints with each other, and they were always very supportive of what I was doing. What each of us was doing photographically was entirely different, but we were basically coming from the same place, sort of like a club.
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