A dreamlike quality is often created by reducing the specificity of a place and a culture to such a degree that it closes down our expectation of uncovering the ‘where and when’ of a photograph. – Charlotte Cotton
Left: ©Ben Alper; Right: ©Jessica Eaton
Left: ©Evelyn Hofer; Right: ©Michael Julius
Consulting the rules of composition before taking a photograph is like consulting the laws of gravity before going for a walk. – Edward Weston
Left: ©Joao Canziani; Right: ©Gabriela Herman
Left: ©Frauke Thielking; Right: ©Natasha Klimchuk
Left: ©Chad Pelton; Right: ©Juliana Henao Alcaraz
I take no offense in comparisons. I often think artists and people who write about art place way too much importance on the appearance of novelty and obtuse sound bites, but if they really did their homework they’d see relationships and historical precedents all over the place. Arbus and Lisette Model, Robert Frank and Walker Evans, etc. are obvious examples. No one works in a vacuum; there is precedent and dialogue in every medium and expression and those relationships can be really interesting. (“Tradition and the Individual Talent” by T.S. Elliot should be required reading). The uniqueness or particularity of serious work is often in more thoughtful, quieter differences – all of which have to do with our own biography, experiences, and the world that we’re faced with at any given time. – Katy Grannan
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