I can’t stand these damn shows on museum walls with neat little frames, where you look at the images as if they were pieces of art. I want them to be pieces of life!
W. Eugene SmithRead
I would that my photographs might be, not the coverage of a news event, but an indictment of war - the brutal corrupting viciousness of its doing to the minds and bodies of men; and, that my photographs might be a powerful emotional catalyst to the reasoning which would help this vile and criminal stupidity from beginning again.
Interpretation
The quote emphasizes the purpose of photography as a means to expose the harsh realities of war and provoke emotional responses for change.
W. Eugene Smith expresses his desire for his photographs to serve as more than mere documentation of war; he wants them to be a powerful critique of its brutality and to foster a deeper understanding of its impact on humanity. By portraying the physical and psychological toll of war, he aims to evoke emotion and spur reflection, ultimately hoping to prevent the repetition of such atrocities in the future.
In practice
In a speech about the role of art during conflict, one could quote this to emphasize the responsibility of artists.
I can’t stand these damn shows on museum walls with neat little frames, where you look at the images as if they were pieces of art. I want them to be pieces of life!
I've never made any picture, good or bad, without paying for it in emotional turmoil.
Most photographers seem to operate with a pane of glass between themselves and their subjects. They just can't get inside and know the subject.
Up to and including the moment of exposure, the photographer is working in an undeniably subjective way. By his choice of technical approach, by the selection of the subject matterand by his decision as to the exact cinematic instant of exposure, he is blending the variables of interpretation into an emotional whole.
I try to take what voice I have and I give it to those who don’t have one at all.
The photographer must bear the responsibility for his work and its effect …[for] photographic journalism, because of its tremendous audience reached by publications using it, has more influence on public thinking than any other branch of photography.
When you're a writer and something difficult happens to you, one of the things involved in that is this emergence of narrative potential. And there's then a kind of self-consciousness about telling a story in which you suffered.
Jazz in itself is not struggling. That is, the music itself is not struggling... It's the attitude that's in trouble. My plays insist that we should not forget or toss away our history.
What I want, when I write a poem, is no more than this: that it be preserved in some published form so that, in principle, someone, somewhere, will be able to find it and read it. That is all I need, as a poet, and that is the beauty, the luxury of my position. My lyric is mine and remains mine. Nobody can ruin it.
When human beings have been fascinated by the contemplation of their own hearts, the more intricate biological pattern of the female has become a model for the artist, the mystic, and the saint. When mankind turns instead to what can be done, altered, built, invented, in the outer world, all natural properties of men, animals, or metals become handicaps to be altered rather than clues to be followed.
Geniuses can be scintillating and geniuses can be somber, but it's that inescapable sorrowful depth that shines through-originality.
If one means by style the voice, the irreducible and always recognizable and alive thing, then of course style is really everything.
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