Through books and photographs, I saw a world that was not my own - and I realized that there was another world. That's why I'm concerned about education, because it helps our children see other worlds.
Bette MidlerRead
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Through books and photographs, I saw a world that was not my own - and I realized that there was another world. That's why I'm concerned about education, because it helps our children see other worlds.
If you look at satellite photographs of the Far East by night, you'll see a large splotch curiously lacking in light. This area of darkness is the Democratic People's Republic of Korea.
Obviously I am a photographer and I believe in my medium: I do think that powerful photographs can force change. It doesn't take long to look and be engaged in a strong image whereas, with a story, you have to actually sit down and pause and be involved in it.
I've always been interested in photographs, collecting them not systematically but randomly. They get lost, then turn up again.
I had seen the photographs of Harlem in its glory days, stylish men in bespoke suits, women so well dressed that they'd put the models in 'Vogue' to shame. I knew that Harlemites loved to dance, to pray, and to eat.
In school I was in the dark room all the time, and I've always collected stray photographs; there's a great deal of memory in them.
I didn't really know how to make a film when I made 'Control'. I had to create my own language, just as I did when I started taking photographs. I never studied either one.
The ostensible subject of my photographs may be motion, but the subtext is time. A dancer's movements illustrate the passage of time, giving it a substance, materiality, and space. In my photographs, time is stopped, a split second becomes an eternity, and an ephemeral moment is solid as sculpture.
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