Photographers From The United States

"of course I’m a feminist, but I speak about feminism as a plural. There are feminisms, and those feminisms are acted out in terms of site specificity: context, race, class, gender, location. They also connect with a larger term, intersectionality, which is commonly used now but which I’ve always understood organically. There is always a connection between issues of race and gender and class. They don’t ever exist separately, and people who feel that they live them separately are really not understanding the multiple forces that have impacts on their identity and their lives. You just can’t talk about sexuality and gender without engaging the complicated issues of race, and you can’t talk about race without engaging complicated, under-recognized issues of class. And it’s wrong to trivialize any one of those things at the price of the other."

"sports is a way that men can be allowed to have physical contact that is disallowed in a homophobic culture—not only in the playing of the game but also in the viewing of the game. Sports promote a kind of romance or a group understanding and intimacy about the notion of teams, about men being together and men’s bodies being together. It’s also true of the military, and it’s true of cultures in certain countries that disallow difference and are homophobic and at the same time are engaged in a war for a world without women."

"(Where is “Your Body Is a Battleground” not an issue?) BK: I’ve not been to that place yet."

"Most artists will never make money off their work, but that spark, that need to create commentary, to visualize, textualize, and musicalize your experience of the world will continue whether it’s a hot commodity or not. You see that places where that need is shut down, we see oppressiveness and subjugation. That need to create commentary is huge. Most of that commentary will not make a big flip profit for some guy buying a condo on the next block. You have to go in knowing that."

"I never say I do political art. Nor do I do feminist art. I’m a woman who’s a feminist, who makes art. But I think what work becomes visible and what work remains absent is always a result of historical circumstance, you know—hard work, to some degree, and social relations."

"the whole decade-izing thing doesn’t work for me. To me, the ’80s began in 1975 and ended in 1984—’84 or ’85 is when the market changed, when things really heated up. For me, decades are weird. Artists always are a reflection of the times they have come up in. And I think that, for us, there was a real historical change, and it was the first time that women had entered the marketplace, that their works had not been marginalized."

"I remember going into galleries and seeing this thing called conceptual art, and I understand people’s marginalization from what the art subculture is because if you haven’t crashed the codes, and if you don’t know what it is, you feel it’s a conspiracy against your unintelligence. You feel it’s fraud. I understand that. Now that I have crashed the code, I understand and support all this work. But I know how, in many ways, it’s a closed language. My work, not so much so, and it’s not by coincidence, because I just feel I relate to that reader who doesn’t know the secret code word."

"I have problems with a lot of photography, particularly street photography and photojournalism—objectifying the other, finding the contempt and exoticism that you might feel within yourself or toward yourself and projecting it out to others. There can be an abusive power to photography, too."

"I don’t believe that any work, whether it’s a piece of visual art or a novel or a building, is as brilliant and major and extraordinary or as damaged and pathetic and minor as it’s thought to be."

"I’m just trying, like most art or music or movies, to create a commentary—not literal—of how it feels to live another day, to watch the world turn itself inside out or try to turn us inside out."

"I really think that my work has been concerned with a scrutiny of how we are to one another. How we love one another, adore one another, detest one another, damage one another, how we caress one another on both an intimate and global scale. The history of the past thousand years is fraught with power and its abuses."

"If you can’t feel it, it must be real."

"What a ridiculous clusterfuck of totally uncool jokers."

"When I hear the word Culture I take out my checkbook"

"I have no complaints, except for the world."

"Architecture is my first love, if you want to talk about what moves me — the ordering of space, the visual pleasure, architecture's power to construct our days and nights."

"Of course. All the best people are."

"He's probably the single most untalented person I've heard in my life. He's a two-bit pretentious academic, and he can't play rock'n'roll, because he's a loser. And that's why he dresses up funny. He's not happy with himself, and I think he's right."

"This is the impossible level, boys. Impossible doesn't mean very difficult, very difficult is winning the Nobel Prize, impossible is eating the sun."

"Anyone that gets to side four is dumber than I am."

"Nothing beats 2 guitars, drum and bass."

"Fuck Radio Ethiopia man, I'm Radio Brooklyn!"

"My week beats your year."

"LR: "Are you political, Lou? Audience: "Yeah, are you?" LR:"Political about what? You give me an issue, I'll give you a tissue and you can wipe my ass with it.""

"The Velvet Underground - Sweet Jane (youtube)"

"Lou Reed - Sweet Jane (youtube)"

"Some people, they like to go out dancin' And other people, they have to work ... And there's even some evil mothers Who'll tell you everything is just dirt You know that women never really faint That villains always blink their eyes, ooh That children are the only ones who blush And that life is just to die But anyone who ever had a heart They wouldn't turn around and break it And anyone who ever played a part Oh, they wouldn't turn around and hate it ... They say Jane, Sweet Jane, oh woah, Sweet Jane, Sweet Jane Heavenly wine and roses seem to whisper to her, hey, when she smiles"

"And Pontiff, pretty Pontiff Can anyone shake your hand? Or is it just that you like uniforms and someone kissing your hand"

"Jesse you say Common Ground Does that include the ?"

"First thing you learn is that you've always got to wait"

"There are problems in these times, but none of them are mine I'm beginning to see the light"

"An eye for an eye is elemental."

"I watched it for a little while, I like to watch things on TV"

"You made me forget myself; I thought I was someone else, someone good."

""Just watch," said Sheila, touching her finger to her head."

"The Rally Man's patter ran on through the dawn Until we said so long to his skull Shrill yell."

"When she turned blue, all the angels screamed."

"I'll be your mirror Reflect what you are In case you don't know"

"Candy says I've come to hate my body And all that it requires In this world . . . What do you think I'd see If I could walk away from me"

"Candy came from out on the Island In the backroom she was everybody's darlin' But she never lost her head Even when she was giving head She says, Hey babe Take a walk on the wild side"

"Life's like a mayonnaise soda And life's like space without room And life's like bacon and ice cream That's what life's like without you"

"And I feel just like Jesus' son"

"You can't depend on a beginning You can't depend on an end You can't depend on intelligence... You can only depend on one thing You need a busload of faith to get by... You can't depend on any churches Unless there's real estate you want to buy You can't depend on a lot of things You need a busload of faith to get by... You can depend on cruelty Crudity of thought and sound... You need a busload of faith to get by, ha"

"This room cost 2,000 dollars a month You can believe it man it's true Somewhere a landlord's laughing till he wets his pants No one here dreams of being a doctor or a lawyer or anything They dream of dealing on the dirty boulevard Give me your hungry, your tired your poor I'll piss on 'em That's what the Statue of Bigotry says Your poor huddled masses, let's club 'em to death And get it over with and just dump 'em on the boulevard"

"And Romeo had Juliette And Juliette had her Romeo I'll take Manhattan in a garbage bag With Latin written on it that says "it's hard to give a shit these days" Manhattan's sinking like a rock Into the filthy Hudson what a shock They wrote a book about it They said it was like ancient Rome"

"The news I feared the most, pales in comparison to the lump in my throat and the hollow in my stomach. Two kids have a chance meeting and 47 years later we fight and love the same way – losing either one is incomprehensible. No replacement value, no digital or virtual fill . . . broken now, for all time. Unlike so many with similar stories – we have the best of our fury laid out on vinyl, for the world to catch a glimpse. The laughs we shared just a few weeks ago, will forever remind me of all that was good between us. — John Cale about Reed's death"

"It always bothers me to see people writing 'RIP' when a person dies. It just feels so insincere and like a cop-out. To me, 'RIP' is the microwave dinner of posthumous honors."

"At the times in my life when I was feeling the most gregarious and looking for bosom friendships, I couldn't find any takers so that exactly when I was alone was when I felt the most like not being alone. The moment I decided I'd rather be alone and not have anyone telling me their problems, everybody I'd never even seen before in my life started running after me to tell me things I'd just decided I didn't think it was a good idea to hear about. As soon as I became a loner in my own mind, that's when I got what you might call a "following." As soon as you stop wanting something you get it. I've found that to be absolutely axiomatic."

"Sometimes you're invited to a big ball and for months you think about how glamorous and exciting it's going to be. Then you fly to Europe and you go to the ball and when you think back on it a couple of months later what you remember is maybe the car ride to the ball, you can't remember the ball at all. Sometimes the little times you don't think are anything while they're happening turn out to be what marks a whole period of your life. I should have been dreaming for months about the car ride to the ball and getting dressed for the car ride, and buying my ticket to Europe so I could take the car ride. Then, who knows, maybe I could have remembered the ball."

"Sometimes you fantasize that people who are really up-there and rich and living it up have something you don't have, that their things must be better than your things because they have more money than you. But they drink the same Cokes and eat the same hot dogs and wear the same ILGWU clothes and see the same TV shows and the same movies. Rich people can't see a sillier version of w:Truth or Consequences, or a scarier version of w:The Exorcist. You can get just as revolted as they can—you can have the same nightmares. All of this is really American."