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

 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.” 
 It might be more useful, if not necessarily more true, to think of photography as a narrow, deep area between the novel and film. 
 Photographs no longer provoke a meditation upon external phenomena, but on the conditions of their own existence. 
 I never had any profound loyalty to the idea of photography as a medium but simply as the most efficient way of making or recording an image. 
 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 assumed from the outset that photography was already art, and that I and other people working in photography were artists. I understand now that this was a minority point of view. 
 The ideal photographic document would appear to be without author or art. 
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