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. 
 We know photographers make frames, but we deeply believe they can also create frameworks. 
 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. 
 I see myself in [the] tradition of encounter and witness—a “witness” that sees the photograph as evidence. 
 It’s a strange experience… the photograph is like an object frozen in time, and people’s lives go on. 
 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. 
 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… 
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