quite contrary

zu eng.

noreply@blogger.com (Mary) — Mon, 24 Oct 2011 14:58:00 +0000

Weiter hier.

Diane Arbus

noreply@blogger.com (Mary) — Wed, 28 Sep 2011 17:08:00 +0000

I work from awkwardness, by that I mean I don’t like to arrange things. If I stand in front of something, instead of arranging it, I arrange myself.

Ariella Azoulay

noreply@blogger.com (Mary) — Wed, 28 Sep 2011 10:38:00 +0000

In photography - and this is evident in every single photo - there is something that extends beyond the photographer's action, and no photographer, even the most gifted, can claim ownership of what appears in the photograph. Every photograph of others bears the traces of the meeting between the photographed persons and the photographer, neither of whom can, on their own, determine how this meeting will be inscribed in the resulting image. The photograph exceeds any presumption of ownership or monopoly and any attempt at being exhaustive.

Kiku Adatto

noreply@blogger.com (Mary) — Wed, 28 Sep 2011 10:36:00 +0000

We have more opportunities to live at the surface, continually posing, to see and measure ourselves by the images we make and the images others make of us.

Émile Zola

noreply@blogger.com (Mary) — Sat, 24 Sep 2011 09:50:00 +0000

A mon avis, vous ne pouvez pas dire que vous avez vu quelque chose à fond si vous n'en avez pas pris une photograpie révélant un tas de détails qui, autrement, ne pourraient même pas être discernés.

Susan Sontag

noreply@blogger.com (Mary) — Sat, 24 Sep 2011 09:39:00 +0000

So successful has been the camera's role in beautifying the world that photographs, rather than the world, have become the standard of the beautiful.

Susan Sontag

noreply@blogger.com (Mary) — Sat, 24 Sep 2011 09:23:00 +0000

We learn to see ourselves photographically, to regard oneself as attractive is, precisely, to judge that one would look good in a photograph.

Gerhard Richter

noreply@blogger.com (Mary) — Wed, 14 Sep 2011 12:25:00 +0000

The similarity with the model in one of my pictures is not merely only apparent and unintentional, it is also completely useless.

Robert Park

noreply@blogger.com (Mary) — Wed, 14 Sep 2011 12:10:00 +0000

In so far as this mask represents the conception we have formed of ourselves - the role we are striving to live up to - this mask is our truer self, the self we would like to be.

Alex Katz

noreply@blogger.com (Mary) — Wed, 14 Sep 2011 11:40:00 +0000

I figure if I get the surface right everything will be there.

Richard Avedon

noreply@blogger.com (Mary) — Sun, 11 Sep 2011 11:54:00 +0000

There is no such thing as inaccuracy in a photograph. All photographs are accurate. None of them is the truth.

Milan Kundera

noreply@blogger.com (Mary) — Sun, 11 Sep 2011 11:32:00 +0000

The serial number of a human speciemn is the face, that accidental und unrepeatable combination of features. It reflects neither the character nor the soul, nor what we call the self. The face is only the serial number of a specimen.

karl heinz stockhausen

noreply@blogger.com (Mary) — Sun, 11 Sep 2011 11:00:00 +0000

the biggest work of art there has ever been. The fact that spirits achieve with one act something which we in music could never dream of, that people practice ten years madly, fanatically for a concert. And then die. [Hesitantly.] And that is the greatest work of art that exists for the whole Cosmos. Just imagine what happened there. There are people who are so concentrated on this single performance, and then five thousand people are driven to Resurrection. In one moment.

Victor I. Stoichita

noreply@blogger.com (Mary) — Mon, 05 Sep 2011 18:27:00 +0000

For the simulacrum to triumph, the model must die.

theodor adorno

noreply@blogger.com (Mary) — Fri, 02 Sep 2011 16:05:00 +0000

The beautiful in nature is history standing still and refusing to unfold.

Kaja Silverman

noreply@blogger.com (Mary) — Wed, 31 Aug 2011 18:02:00 +0000

Der Blick ist glücklicherweise nichts Einmaliges oder Endgültiges.

Vilém Flusser

noreply@blogger.com (Mary) — Wed, 31 Aug 2011 14:37:00 +0000

Der Mensch ek-sistiert, das heißt, die Welt ist ihm unmittelbar nicht zugänglich, so daß Bilder sie ihm vorstellbar machen sollen. Doch sobald sie dies tun, stellen sie sich zwischen die Welt und den Menschen. Sie sollen Landkarten sein und werden zu Wandschirmen: statt die Welt vorzustellen, verstellen sie sie, bis der Mensch schließlich in Funktion der von ihm geschaffenen Bilder zu leben beginnt. Er hört auf, die Bilder zu entziffern und projiziert sie statt dessen unentziffert in die Welt "dort draußen", womit diese selbst ihm bildartig - zu einem Kontext von Szenen und Sachverhalten - wird.

Stephan Schmidt-Wulffen

noreply@blogger.com (Mary) — Mon, 29 Aug 2011 12:12:00 +0000

Die Entdeckung der Aussagekraft des Inszenatorischen ist einer der wichtigsten Aspekte der "Oberflächlichkeit". Es gibt offenbar auch einen Weg, seine Gedanken zu vermitteln, eine Aussage zu machen, die nicht über die Wahrhaftigkeit, die Authentizität, das Wahrheitspathos, führt. In der Kunst, so ließe sich dieser Standpunkt zusammenfassen, gibt es keine Lüge, Hauptsache das Werk arbeitet.

Robert A. Sobieszek

noreply@blogger.com (Mary) — Wed, 10 Aug 2011 16:09:00 +0000

It does not matter how abstracted the depicted face is, or if it is an icon, symbol, or fiction; what concerns us is that it does still signify an other, another's face: an announcement of communication, the beginning of countless dramatics, a locus of potential passions, an allegory of the human soul, and a potential embodiment of personal ethics.

Jacques Rancière

noreply@blogger.com (Mary) — Fri, 05 Aug 2011 15:00:00 +0000

Die Emanzipation beginnt dann, wenn man den Gegensatz zwischen Sehen und Handeln in Frage stellt, wenn man versteht, dass die Offensichtlichkeiten, die so die Verhältnisse zwischen dem Sagen, dem Sehen und dem Machen strukturieren, selbst der Struktur der Herrschaft und der Unterwerfung angehören. Sie beginnt, wenn man versteht, dass Sehen auch eine Handlung ist, die diese Verteilung der Positionen bestätigt oder verändert.

Guy Debord

noreply@blogger.com (Mary) — Fri, 05 Aug 2011 13:47:00 +0000

Je mehr er zuschaut, umso weniger lebt er.

Thomas Struth

noreply@blogger.com (Mary) — Tue, 26 Jul 2011 12:47:00 +0000

My idea of a successful photo is that it be readable, that everyone enters and plays his or her role, according to the momentary requirement of the person, according to their momentary self-understanding. I believe that quite a bit can be read and is visible

Henri Cartier-Bresson

noreply@blogger.com (Mary) — Tue, 26 Jul 2011 12:40:00 +0000

The profession depends so much upon the relations the photographer establishes with the people he's photographing, that a false relationship, a wrong word or attitude, can ruin everything. When the subject is in any way uneasy, the personality goes away where the camera can't reach it. There are no systems, for each case is individual and demands that we be unobtrusive, though we must be at close range.

Richard Avedon

noreply@blogger.com (Mary) — Fri, 22 Jul 2011 17:52:00 +0000

A portrait photographer depends upon another person to complete his picture. The subject imagined, which in a sense is me, must be discovered in someone else willing to take part in a fiction he cannot possibly know about. My concerns are not his. We have separate ambitions for the image. His need to plead his case probably goes as deep as my need to pleed mine, but the control is with me.

Richard Avedon

noreply@blogger.com (Mary) — Fri, 22 Jul 2011 16:21:00 +0000

I am observing how he moves, reacts, expressions that cross his face so that, in making the portrait, I can heighten through instruction what he does naturally, what he is.