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

 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. 
 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.” 
 ...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. 
 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. 
 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 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. 
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