Lewis Baltz
[Photographer, b. 1945, Newport Beach, California, d. 2014, Paris.]

 I wanted [my photography] to appear as though the camera was seeing by itself. 
 The ideal photographic document would appear to be without author or art. 
 If you read what, say, Weston was writing in the 1920s he talked about an industrial medium, reflective surfaces, contemporary subject matter—it’s a straighter line to [Ed] Ruscha’s 26 Gas Stations than it would ever be to Ansel Adam’s pictures of Yosemite and their kitschy calendar sensibility. 
 Photographs no longer provoke a meditation upon external phenomena, but on the conditions of their own existence. 
 I believed it was necessary to investigate photography, dismantle it, jettison all the non-essential components, and begin again with a stripped down but more powerful idea of what is, or could be “photographic.” 
 I used photography to distance myself from a world that I loathed and was powerless to improve. 
 I think being a photographer is a little like being a whore: if you’re really really good at it, nobody will call you that. 
 The world was already in the condition of art, waiting to be noticed as such. As Robert Irwin famously said, “I feel like a man sitting beside a river selling water.” 
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