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

 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. 
 I used photography to distance myself from a world that I loathed and was powerless to improve. 
 I wanted [my photography] to appear as though the camera was seeing by itself. 
 ...you don’t put an object in a museum because it’s beautiful; an object is beautiful because you put it in a museum. Everything is photogenic once it has been photographed. 
 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. 
 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.” 
 The ideal photographic document would appear to be without author or art. 
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