Catherine Opie Quotes
Quotes to Explore
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I remember we would get young, aspiring actors to come on '77 Sunset Strip' - I remember George Kennedy was one of those - and they would do a big guest star part, a lead, and they'd be paid maybe $850.
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Photography is about finding out what can happen in the frame. When you put four edges around some facts, you change those facts.
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I remember being at Greenblatt's on Sunset, and some guy just walked straight up to me, and he had some bling on and whatever, and said something about a party down in Malibu and asked if I would jump in his car and go to the party. All I could think was, 'Who are you? I don't know you, and I don't care about how good your car is.'
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Give me odorous at sunrise a garden of beautiful flowers where I can walk undisturbed.
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I'm constantly working on these edges of photography, either to employ so much information or reduce information to the point of collapse.
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I've been working almost 20 years, and I think I've worked with maybe one black director of photography in that time. Maybe two women directors or DPs. Maybe. And I've done a lot of TV. That's a lot of people I've worked with.
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One of the prettiest sounds on Earth at sunset.
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Ballet might be too formal of a title for the type of dance I do, but I love to dance. I love to draw and paint; I do ceramics and photography. I'm interested in a lot of creative stuff.
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My photography is mainly focused on my work making movies, which I've done my whole life. I think I have a perspective that not many people have. And I get to take advantage of all of the strange sources of light on a set.
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Photography belongs to a fraternity of its own. I was young and enthusiastic and wanted to take good pictures to show the other photographers. That, and the professional pride of convincing an editor that I was the man to go somewhere, were the most important things to me.
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I've spent most of my life embracing violence in wars and revolutions. Even a famine is a form of violence. Because I photograph people in peril, people in pain, people being executed in front of me, I find it very difficult to get my head around the art narrative of photography.
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I would love to study photography.
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Nowadays shots are created in post-production, on computers. It's not really photography.
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There are those photographers who have made a whole career doing commercial work but have never had a museum show, and then there are others who've only had museum shows but couldn't survive for five seconds in the real world of photography. But I've done absolutely everything.
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Photography does deal with 'truth' or a kind of superficial reality better than any of the other arts, but it never questions the nature of reality - it simply reproduces reality. And what good is that when the things of real value in life are invisible?
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Truthfully, I don't really think of myself as a photographer. I don't have all the disciplines and knowledge of a person who's spent their life devoted to photography.
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One advantage of photography is that it's visual and can transcend language.
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In the '70s, in Britain, if you were going to do serious photography, you were obliged to work in black-and-white. Color was the palette of commercial photography and snapshot photography.
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In the 1950's there was a kind of agreement that a good artist would do something in his picture that acknowledge the edge, but it was a question of doing something when you got to the edge. Cropping was something new. It came from photography and from w:Clement Greenberg. It was resisted as being too easy.
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My work is one long triumph over my limitations.
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I feel very lucky.
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Even a fiction film is hard to end. You can going on shooting and editing a documentary forever.
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Well, I was 29 years old when I came to the United States Senate, and I have learned a lot.
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The biggest cliche in Photography is Sunrise and Sunset.
