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

 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. 
 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 believe that the very process of looking can make a thing beautiful. 
 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. 
 Photography hankers after the condition of the neutral observer. But there can be no such things as a neutral observer. For something to be seen, it must be looked at by somebody, and any true and real depiction must be an account of the experience of that looking. 
 You can’t look at most photos for more than, say, thirty seconds. It has nothing to do with the subject matter. I first noticed this with erotic photographs, trying to find them lively: you can’t. Life is precisely what they don’t have—or rather, time, lived time. All you can do with most ordinary photographs is stare at them—they stare back, blankly—and presently your concentration begins to fade. They stare you down. 
 “The pencil of nature” is a mad idea: you need a hand with the pencil. It won’t do anything on its own. 
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