[Photographer and artist, b. 1924, Ann Arbor, Michigan, d. 1997, Truro, Massachusetts.]
The world is full of objects, more or less interesting; I do not wish to add any more.
What has interested me all along is not the pronouncement of meaning but pointing toward the way meaning is formed.
Throughout the artist’s lifetime he will photographically document, to the extent of his capacity, the existence of everyone alive. (Proposal)
I set up a system, and the system can catch part of what is happening in the world—what’s going on in the world—an appearance in the world, and suspend that appearance itself from being important…. The work is about the system.
I use the camera as a “dumb” copying device that only serves to document whatever phenomenon appears before it through the conditions set by a system. No “esthetic” choices are possible. Other people often make the photographs. It makes no difference.
Every photograph is a realization of one of the possibilities contained within the program of the camera. The number of such possibilities is large, but it is nevertheless finite. It is the sum of all those photographs that can be taken by a camera.
The essential quality of existence concerns where one is at any instant in time: that locates everything else. Location, as a phenomenon of space and time, has been transposed by most art forms into manifestations of visual equivalence: that is, as an experience located at the ends of the eyeballs. I am interested in transposing location directly into “present” time by eliminating things, the appearance of things, and appearance itself. The documents carry out that role using language, photographs and systems in time and location.
What I say is part of the artwork.