David Hockney
[Artist, b. 1937, Bradford, England, lives in Bridlington, Yorkshire; London; and Los Angeles.]

 I believe that the very process of looking can make a thing beautiful. 
 I mean, photography is all right if you don’t mind looking at the world from the point of view of a paralyzed cyclops—for a split second. But that's not what it’s like to live in the world, or to convey the experience of living in the world. 
 The camera can’t see space. It sees surfaces. People see space, which is much more interesting. 
 I came to Los Angeles for two reasons: The first was a photo by Julius Shulman of Case Study House #21, and the other was [Atheletic Model Guildʼs]ʼs Physique Pictorial. 
 If we are to change our world view, images have to change. The artist now has a very important job to do. He’s not a little peripheral figure entertaining rich people, he’s really needed. 
 …all along I’ve had an ambivalent relationship to photography—but as to whether I thought it an art form, or a craft, or a technique, well, I’ve always been taken with Henry Geldzahler’s answer to that question when he said, “I thought it was a hobby.” 
 “The pencil of nature” is a mad idea: you need a hand with the pencil. It won’t do anything on its own. 
 Computer manipulation means that it’s no longer possible to believe that a photograph represents a specific object in a specific place at a specific time—to believe that it’s objective and “true.” 
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