Neil Postman
[Writer and media critic, b. 1931, New York, d. 2003, Queens, New York.]

 By itself photography cannot deal with the unseen, the remote, the internal, the abstract, it does not speak of “Man,” only of “a man”; not of “Tree,” only “a tree.” 

Minor White
[Photographer, writer, and theorist, b. 1908, Minneapolis, Minnesota, d. 1976, Cambridge, Massachusetts.]

 The spring-tight line between reality and photography has been stretched relentlessly, but it has not been broken. These abstractions... have not left the world of appearances; for to do so is to break the camera’s strongest point—its authenticity. 

Uta Barth
[Photographer, b. 1958, Berlin, lives in Los Angeles.]

 Everything is pointing to one’s own activity of looking, to an awareness and sort of hyper-consciousness of visual perception. The only way I know how to invite this experience is by removing the other things (i.e., subject matter) for you to think about. 

Robert Irwin
[Artist, b. 1928, Long Beach, California, lives in San Diego, California.]

 No artist worth their salt has ever made their work really abstract. All wanted to make it as real as possible. So the question is what do we mean by reality? 

Tristan Tzara (Sami Rosenstock)
[Writer and artist, b. 1896, Moineti, Bacu, Romania, d. 1963, Paris.]

 Is it a spiral of water in the tragic gleam of a revolver, an egg, a glistening arc or the floodgate of reason, a keen ear attuned to a mineral hiss, or a turbine of algebraic formulas? (On Man Ray’s first photograms, 1921.) 

Edward Weston
[Photographer, b. 1886, Highland Park, Illinois, d. 1958, Wildcat Hill, California.]

 I shall let no chance pass to record interesting abstractions, but I feel definite in my belief that the approach to photography is through realism—and its most difficult approach. (1924) 

David Maisel
[Photographer, b. 1961, New York, lives in San Francisco.]

 …pictures aren’t facts. There’s nothing factual about them. They’re mental space. That’s what abstraction is about, making a kind of psychological space. 

Harry Callahan
[Photographer, b. 1912, Detroit, Michigan, d. 1999, Atlanta, Georgia.]

 Everything was Bauhaus this and Bauhaus that. I wanted to break it... I got tired of experimentation. I got sick of the solarization and reticulation and walked-on negatives. What I was interested in was the technique of seeing... I introduced problems like “evidence of man,” and talking to people—making portraits on the street... I thought [the students] should enter into dealings with human beings and leave abstract photography. I felt that social photography would be the next concern. 
quotes 1-8 of 45
page 1 of 6 next page last page
display quotes