Photographer Quotes

I have lived all my life as part of an ethnic conflict.
I look at life as a one-time opportunity, and you have to take pleasure in each moment, even if it is very problematic.
I worked a little as a messenger on a bicycle and then decided to study photography and film.
I'm constantly working on these edges of photography, either to employ so much information or reduce information to the point of collapse.
My work is not so much a direct commentary as it is an open-ended observation of the absurdities around us.
'Pomegranate,' started with my imagining a bullet going through the fruit and causing it to bleed. My initial associations were with pomegranates in old masters painting and their Judeo-Christian symbolism.
Violence can be very grotesque and also intensely attractive. What interests me is how the two - beauty and violence - live side by side, and how moments can be created and erased almost simultaneously. Destruction is painful, but at times it can be very cathartic.
As an artist, I've always felt most comfortable outside of the art supply store. So domestic materials are the ones that most help inform what I'm trying to talk about and our familiarity as a whole - kind of the collective us, I guess.
As an undergrad at Columbia College in Chicago, I came across 'Boondocks,' and then I watched the 'Boondocks' television show.
Dealing with actors is incredibly complex because they oftentimes are like pieces of clay. They want to be told how you want it done. You have to then decide if you want to be the teller or if you want to give them agency.
For me, all the materials and objects I employ come from a specific space that's very personal.
Growing up in Chicago, there was a very particular type of home that would display the black Jesus figure. It wasn't a radical home. You wouldn't find these in a Black Panther house. There's still a strong allegiance to Christianity.
I attempted to do yoga in German, and it was not particularly successful. So at that time, I started thinking about the idea of just movement and how I could move to de-stress.
I can bring in all these different components, and I marry these components, and I let them get traversed by the viewer, who reorganizes them.
I don't have any other skills. Some artists say that to mean that their embodied passion for art gave them no choice. I say it, very specifically, to say that I really didn't have any other options.
I have an investment in the signifying aspects of the material as well as an understanding of antecedent bodies of work. That informs the way I make marks and make decisions.
I say that I suffer from what Rosalind Krauss was calling the post-medium condition, where an artist essentially employs several mediums in order to bring to life whatever specific ideas that they have. For me it's always been that way.
I started rereading 'The Dutchman' - I kind of just pulled it off the shelf.
I wanted my art to deal with very formal concerns and to deal with very material concerns, and to deal with antecedents and art history, which for me go very far beyond just the influence of African-American artists.
I was born in Evanston, about three blocks away from the Chicago border. My mother, at the time, was finishing her Ph.D. in African History at Northwestern University. Soon after my birth, my parents split, and my father moved to Wicker Park, which is on the north side of the city.
«first‹previous3839404142434445464748next›last»
Total Records : 1538

Related Books

Share to your friends..

Popular Topics

Attitude Death Inspirational Life Love Motivational Nature Positive