Susan Meiselas
[Photographer, b. 1948, Baltimore, Maryland, lives in New York.]

 The camera is an excuse to be someplace you otherwise don’t belong. It gives me both a point of connection and a point of separation. 
 Finding a photograph is often like picking up a piece from a jigsaw-puzzle box with the cover missing. There’s no sense of the whole. Each image is a mysterious part of something not yet revealed. 
 We know photographers make frames, but we deeply believe they can also create frameworks. 
 You look at photographs that freeze time, but then time moves. 
 For a long time I’ve lived with the inadequacy of that frame to tell everything I knew, and I think a lot about what is outside of the frame… 
 If Instagram had been available when I was working in Nicaragua in 1978, I’m sure I would have wanted to use it as a way of reporting directly from the streets during the insurrection. 
 I see myself in [the] tradition of encounter and witness—a “witness” that sees the photograph as evidence. 
 I’m deeply interested in the photograph as a record of an encounter and enjoy putting myself in a timeline of image-makers, alongside other travelers, such as anthropologists, colonists, missionaries, even tourists. I do that to emphasize subjectivity, rather than privilege any single perspective—I see myself as only one of many storytellers. 
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