When I was a girl, the West was still young, and the law of force, of physical force, was dominant.
I was photographing every meal I ate, every person I met, every waiter or waitress who served me, every bed I slept in, every toilet I used.
I realize that as I get more experience as I get older, my perception changes and that feeds the photograph.
I meet young artists and it becomes clear that with some the main motivation is getting a show in Chelsea. It strikes me that this is very different to the way it was for me, which was that I wanted to understand photography and the world and myself.
I'm not interested in doing the same kind of picture over and over again. I pose problems for myself. Sometimes they are aesthetic problems and sometimes they are logistical problems.
I don't know how much a photograph can add to a biography, the way a film or writing or narrative medium could. Because it's a frozen image.
If I only try to solve the problems I set for myself, then I'm limited by what I can conceive of. I can't solve a problem I can't conceive. But if someone else gives me a visual problem, it can be out of the whole realm of my normal practice.
PLEASE REMEMBER WHEN YOU ARE FULL OF DOUBT AND IT ALL SEEMS IMPOSSIBLE THAT THERE IS STILL SOME WHO BELIEVES IN YOU, ME. XO
The desire to believe the best of people is a prerequisite for intercourse with strangers; suspicion is reserved for friends.
Jokes? There are no jokes. The truth is the funniest joke of all.
Don't wrench your shoulder out of its socket trying to pat yourself on the back," Beldin said sourly.