It's easy to photograph light reflecting from a surface, the truly hard part is capturing the light in the air.
Walker EvansRead
That’s my idea of what a portrait ought to be, anonymous and documentary and a straightforward picture of mankind.
Interpretation
A portrait should candidly capture the essence of humanity without embellishment or personal identification.
Walker Evans emphasizes the importance of authenticity in portraiture, suggesting that a true portrait should not focus on the specific identity of the subject but rather reflect a documentary-style representation of the human experience. This idea highlights the role of art in showcasing the universality of human emotions and experiences over individualism.
In practice
In a discussion about the role of art in society, this quote can underscore the significance of portraying collective human experiences.
It's easy to photograph light reflecting from a surface, the truly hard part is capturing the light in the air.
The meaning of quality in photography's best pictures lies written in the language of vision. That language is learned by chance, not system.
It is the way to educate your eye and more. Stare, pry, listen, eavesdrop.
Stare, pry, listen, eavesdrop. Die knowing something. You are not here long.
Whether he is an artist or not, the photographer is a joyous sensualist, for the simple reason that the eye traffics in feelings, not in thoughts.
It is easy to imagine fantasy as physical and myth as real. We do it almost every moment. We do this as we dream, as we think, and as we cope with the world about us. But these worlds of fantasy that we form into the solid things around us are the source of our discontent. They inspire our search to find ourselves.
People ask me why my figures have to be so black. There are a lot of reasons. First, the blackness is a rhetorical device. When we talk about ourselves as a people and as a culture, we talk about black history, black culture, black music. That's the rhetorical position we occupy.
You have to go out there and give a piece of yourself -- your life, your soul. And you better give the audience everything you can -- physically, emotionally, musically. Then maybe they'll accept you and give you a standing ovation at the end.
I spend a lot of my time talking to the dead, but since I get paid for it, no one thinks I'm mad.
As long as you have the acting chops and the desire to get inside a character, you can play anything.
As a dramatist, you have 200 choices at every fork in the road. But the audience will reject it if you make the wrong choice, if they feel you are trying to shape the character in a way that suits you. It rings false immediately. People can sense when you're being cynical or schematic.
The job of the writer is to take a close and uncomfortable look at the world they inhabit, the world we all inhabit, and the job of the novel is to make the corpse stink.
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