“… photography, like all camera-made images such as film and video, effaces the marks of its making (and maker) at the click of a shutter. A photograph appears to be self-generated – as though it had created itself.”

Contemporary art photography, or, more specifically, what I would term mainstream art photography, represents for the most part the mining of an exhausted lode.

As Plato insisted two thousand years ago, it is not by means of the image that moral, ethical, or political knowledge is produced.

The thing itself is never just out there in the world waiting to be framed by the photographer’s Leica; rather, it is something dynamically produced in the act of representation and reception and already subject to the grids of meaning imposed on it by culture, history, language, and so forth.

In the final analysis, photography… is ever a hireling, ever the hired gun.

While the aesthetics of consumption (photographic or otherwise) requires a heroicized myth of the artist, the exemplary practice of the player-off codes requires only an operator, a producer, a scriptor, or a pasticheur.

For truly cinematic expression, the camera and the microphone must be able to cross both fire and water.

The camera is interested in what you are thinking as opposed to just what you are doing or saying.

I didn’t go to film school. I was never an assistant or trainee on a film. I had not seen all those cameras. So I think it gave me a lot of freedom.

I think the digital cameras have changed my view. Even though sometimes, including the installations that I show, I mix 35mm filming and video handmade.

This is all you need in life: a computer, a camera, and a cat.

She said the man in the gabardine suit was a spy I said ‘Be careful his bowtie is really a camera’

My mother was an avid readerShe loved books about romance.

I don’t use a crap camera, I don’t eat junk, and I’m not going to a dance where the boys are bores.