“I welcome the eager, the ambitious, the hungry, those delirious and desirous to forage into the unknown. Young, old, naive, established, I want to hear from you. I want to hear about your crazy ideas. I want to be bored by your stupid ideas. I want to engage in philosophical conversations with you about memory, history, technology and the nature of photography. I want something new. I want to be challenged. I want your energy to frighten me. I want to sit down with you in a pub, in your town, on your time, on my dime. We’ll make things right, we’ll make things happen.”—Looking Back on 2011, Looking Forward to 2012 | LPV Magazine
1. I wish I’d had the courage to live a life true to myself, not the life others expected of me.
This was the most common regret of all. When people realise that their life is almost over and look back clearly on it, it is easy to see how many dreams have gone unfulfilled. Most people had not honoured even a half of their dreams and had to die knowing that it was due to choices they had made, or not made.
“For the generation that I spend my days with, there’s not even any ideological baggage that comes along with appropriation anymore,” said Stephen Frailey, an artist whose work has used appropriation and who runs the undergraduate photography program at the School of Visual Arts in Manhattan. “They feel that once an image goes into a shared digital space, it’s just there for them to change, to elaborate on, to add to, to improve, to do whatever they want with it. They don’t see this as a subversive act. They see the Internet as a collaborative community and everything on it as raw material.”—Richard Prince Lawsuit Focuses on Limits of Appropriation - NYTimes.com
“A distinctive trait of her work lies both in the sequence and the juxtaposition of her images. This editing, she says, “differentiates between a photograph and an artwork. Seeing two images next to each other opens up the imagination and gives birth to something else. Flipping through the pages of the book, it can arouse feelings of excitement, sadness, or happiness—things that are hard [for me] to do with words.”—Rinko Kawauchi’s Illuminance - LightBox
“As I went down the subway stairs, through the turnstile, and onto the darkened station platform, a sinking sense of fear gripped me. I grew alert, and looked around to see who might be standing by, waiting to attack. The subway was dangerous at any time of the day or night, and everyone who rode it knew this and was on guard at all times; a day didn’t go by without the newspapers reporting yet another hideous subway crime. Passengers on the platform looked at me, with my expensive camera around my neck, in a way that made me feel like a tourist-or a deranged person.”—Bruce Davidson, Subway
“Here’s what I learned: If you want to do photography at a level that really satisfies your soul and your ego you’ll need to do it alone. Forget having the spouse or girlfriend or best friend or camera buddy tagging along. Forget the whole sorry concept of the “photo walk” which does nothing but engender homogenization and “group think.” Leave all electronics in your hotel room. Cut off all communications, during the day, from or to the “real world” and immerse yourself in the hunt for images. Learn what makes your brain salivate and why. Learn to operate that camera by braille. And make your decisions based on what your inner curator wants you to say.”—The Visual Science Lab / Kirk Tuck: Lonely hunter. Better hunt. (via bandh)
“I like a photograph when you sort of don’t get the content, but after seeing it you have taken something with you that you didn’t have before. You’re sort of unaware that you’ve got the photograph, but after seeing a few you’re obviously more in the know than when you started.”—Conversation with Joni Karanka | LPV Magazine
“We’ve got to stop pretending this has anything to do with The Culture of Free – also technologically determined; the internet reduces transaction costs almost to the point of free – or that it has anything to do with people stealing content. It’s not difficult to figure this approach is strategic on the part of the mass media content industry. They simply pretend they still have a business and try to wrestle whatever value they can from lobbyists over perceived injuries. They turn a technical transformation into a moral problem. They hope to collect taxes and become lords of media. The level of denial is astonishing. And we buy into it. Because the TV says so. And it’s our stagecoach too.”—comment from Brad Bell (via Leveraging the web: how people are willing to pay for content | David Campbell)
Danny:[very calmly] You have done something to your brain. You have made it high. If I lay 10 mils of diazepam on you, it will do something else to your brain. You will make it low. Why trust one drug and not the other? That's politics, innit?
Marwood:I'm gonna eat some sugar.
[he goes to the kitchen]
Danny:I recommend you smoke some more grass.
Marwood:No way, no fucking way.
Danny:That is an unfortunate political decision. Reflecting these times.
Withnail:What are you talking about, Danny?
Danny:Politics, man. If you're hanging onto a rising balloon, you're presented with a difficult decision - let go before it's too late or hang on and keep getting higher, posing the question: how long can you keep a grip on the rope? They're selling hippie wigs in Woolworths, man. The greatest decade in the history of mankind is over. And as Presuming Ed here has so consistently pointed out, we have failed to paint it black.