[Photographer, b. 1941, Brooklyn, New York, lives in Martins Creek, Pennsylvania.]
[Photography is] the idea of the transformative merger between you and the person you are seeing, that you somehow try to enter their form, their skin, their mass, their muscle, and potentially, possibly, their soul.
My picture-making process is not so much about making a photograph as it is about paying extreme attention to what I’m most attracted to, what is drawing my interest. For the most part, I’m hyperstimulated at all times; my life is a massive run-on sentence of stimulation.
I photograph because I live. I want to contribute that passion of living to posterity in the best way I can.
I’ve made a lot of fucking good pictures since I started. (Declining a request to select a few photographs that “epitomize his work.”)
The pictures I take now and tomorrow and yesterday are about human events on a small order. I try to make them bigger, to make them into metaphors that might speak across the board.
The photographs speak specifics, my words attempt to swallow a general flow.
I’m a scoundrel, really. But there’s something about me that remains rather innocent when I’m looking at people… Also, I’m always slightly nervous when I’m taking a picture, though I do it obsessively and without shame. People may sense that and relax, or at least not feel threatened.
The pictures are taken in the spirit of finding myself in the other or finding the other in myself. (On his images published as Social Graces, made mainly at museum and gallery parties and similar high-end social functions.)