Increasingly, the work I'm doing is in service to an idea rather than just to see what something looks like photographed. I'm trying to explore how I feel about something through photography.
Sally MannRead
The earth doesn’t care where death occurs. ...It’s the artist, by coming in and writing about it or painting it or taking a photograph of it, that makes the earth powerful and creates death’s memory. Because the land will not remember by itself, but the artist will.
Interpretation
Artists have the power to immortalize moments of death through their work.
This quote emphasizes the unique role of the artist in preserving memories of death and the emotional impact of such moments on the earth. While the natural world may remain indifferent to loss, artists breathe life into memories through creative expression, allowing us to remember and feel the significance of those moments.
In practice
In a speech about the importance of art in society, one might say, 'As Sally Mann said, the artist transforms the Earth’s silence into powerful memories.'
Increasingly, the work I'm doing is in service to an idea rather than just to see what something looks like photographed. I'm trying to explore how I feel about something through photography.
Sometimes, when I get a good picture, it feels like I have taken another nervous step into increasingly rarified air. Each good-news picture, no matter how hard-earned, allows me only a crumbling foothold on this steepening climb—an ascent whose milestones are fear and doubt.
It's a touchy subject, but as a Southerner, you can't ignore our history any more than a Renaissance painter can ignore the Virgin Mary. And it's impossible to drive down a road or eat a vegetable or pass a church without being reminded of slavery.
I can think of numberless males, from Bonnard to Callahan, who have photographed their lovers and spouses, but I am having trouble finding parallel examples among my sister photographers. The act of looking appraisingly at a man, making eye contact on the street, asking to photograph him, studying his body, has always been a brazen venture for a woman, though, for a man, these acts are commonplace, even expected.
I had still the ambition, formed in Sligo in my teens, of living in imitation of Thoreau on Innisfree, a little island in Lough Gill, and when walking through Fleet Street very homesick I heard a little tinkle of water and saw a fountain in a shop window which balanced a little ball upon its jet, and began to remember lake water. From the sudden remembrance came my poem Innisfree.
That’s my idea of what a portrait ought to be, anonymous and documentary and a straightforward picture of mankind.
I think it's not an accident that you don't have that many Asian American women writers who are breaking out. I don't think it's an accident that you don't have that many Asian American writers, either women or men. I don't think that immigrants are encouraged to become artists. That's very gendered and racialized and ethnicized.
Rob [Tapert], myself and Bruce Campbell sat in hundreds of drive-insnot hundreds, but tens of drive-ins, watching these movies and learning how they were made, and we started to make our own in Super 8. And that’s really how we got into horror films. After a while we learned to really like them, and the craft that went into them.
Dress designing, incidentally, is to me not a profession but an art.
I could never put anything into a picture that wasn't actually there in front of me. That would be a pointless lie, a mere bit of artfulness.
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