[Artist, b. 1949, Panama Canal Zone, lives in New York.]
I wish I had met [Francesca] Woodman forty years ago. It would have been great to live with her for a year. She didn’t save anything. She played the camera like a new guitar. She murdered herself out taking pictures...
[Photographer, b. 1952, Moscow, lives in Paris.]
Don’t be afraid to take bad pictures, because good pictures are the mistakes of bad pictures.
[Photographer, b. 1944, Solna, Sweden, lives in Stockholm.]
I don’t care so much about form. Perhaps I did in the beginning, a long time ago. But now I just want to be as straight and simple and as true as possible.
Jayne Anne Phillips
[Writer, b. 1952, Buckhannon, West Virginia, lives in Boston, Massachusetts.]
We take language into our minds; we read words in the same internal voice with which we think, remember, pray. But when we look at paintings or photographs, the reverse is true. If the image corresponds to our most intensely personal, yet archetypal, yearnings and memories, we don’t take the image in, we move out of ourselves into the image, as though it were another world, a hologram whose forms of light are ghostly angels, or a dream whose physical reality is suggested by what we see on the surface of a canvas or a page. We connect with the image as though we had lost it within our own memories and are now surprised to find it represented outside ourselves, vital and luminous, charged with energy.
[Actor, b. 1960, Burbank, California, lives in Los Angeles.]
I still think photographers should be lashed out at. They should be put in a cage where you can poke them with a stick for a quarter. But not in a hostile way, just for giggles. They really are on the attack against mankind; it’s a disease. They should be helped somewhere. But I’d still like to poke them with a stick.
[Artist, b. 1912, Cody, Wyoming, d. 1956, Springs, New York.]
The modern artist is living in a mechanical age, and we have a mechanical means of representing objects in nature such as the camera and photograph. The modern artist [therefore], it seems to me is working and expressing an inner world, in other words expressing the energy, the motion, and other inner forces. (1950)
[Photographer, b. 1964, Rome, lives in Paris.]
You want to be more vulnerable because that’s how your photography becomes more human. In a sense you want to become a totally blank canvas so the subject or situation reflects him or itself upon you.
[Writer, b. 1871, Auteuil, Paris, d. 1922, Paris.]
Photography is the product of complete alienation.