Photographer Quotes

I was going through a divorce, and I had a lot of reading I was doing, and I developed what was probably a serious anxiety problem - because I was about as poor as you can get, in graduate school, and trying to make my work and keep my head above water.
I'd begun to collect things that were lying in piles on the floor of my studio. I had run out of space, and I started to build shelves. I turned around one day and realized that that was the vehicle for carrying so many of the things that I was looking at and talking about, so they went from the walls to the works.
I've always been interested in this idea of a privileged life, probably because it's something I hadn't seen much of.
I've always had an interest in complicating the way that we perceive the black character, whether it's the black academic or scholar or activist or black intellectual.
I've been interested in LeRoi Jones/Amiri Baraka's work for quite a while. My first introduction to LeRoi Jones was when my mother used to read me the 'Dead Lecturer' poems when I was a kid.
My composition often goes toward the black middle class or the black super-wealthy or strong historical black figures.
My father had a big brick cell phone, before anyone had a cell phone, because he was really just into that kind of thing - communication devices. I grew up between my father's laboratory and my mother's library.
My father owned a small company, called Gundel Electronics, where he did community band radio and some repair stuff.
My father ran a CB radio business. I grew up in a cluttered space that was filled with radios and antennas. It felt alien.
My mother introduced me to more academic-minded writers, Cornel West and Skip Gates. In her library, I came across, when I was very young, Harold Cruse's 'The Crisis of the Negro Intellectual,' which is like a bible of Negro intellectuals from Frederick Douglass to Amiri Baraka.
Oh, yeah, I'm all about ritual.
Race, class, childhood experience, the books I found on my mother's bookshelf, the albums I found in my father's basement - these things are all part of who I am and will always be a part of my work.
'The New Black Yoga' originally was born from a film that I had made prior called 'Black Yoga.' And I was living in Berlin at the time, dealing with a lot of anxiety and stress around the project that I was working on, which is not an abnormal thing for me.
The thing that turned out to be interesting about CB radios was the ability to call out in the world with anonymity. You choose your handle. Race and class become non-signifiers.
The way that light hits objects in life, three-dimensional objects before you photograph them, is really the story of photography.
The way that light hits objects, I think, is one of the more important things that sculpture and photography share.
The whole ability to look at the complexity of race and any sort of associated -ism and still find humor, that's a very interesting space.
What I really hoped to do with my work was to at least be able to define my relationship to race.
When I was young, I remember feeling a real thirst for opportunities around the arts, for learning about how artists function and how institutions work.
When I was younger, I remember there was a really famous book, and it was called 'The People Could Fly.' And so this idea of, kind of like, black characters kind of jumping into space and kind of the challenge that they presented to gravity I thought was really interesting.
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