The work that I feel is most authentically mine is the one that is my first reaction, the first thing that feels like the truth. In aggregate, those choices, those series of decisions, create your point of view, your visual language.
[Ash is trapped in the cellar with Henrietta walking towards him] Ash: Open the door. There's something down here! Annie: Open it. Quickly! Jake: It's a trick!
Ray Kinsella: [about the reclusive Terence Mann] OK, the last interview he ever gave was in 1973. Guess what it's about. Annie Kinsella: Some kind of team sport.
Annie Hughes: [to other waitress in background] So, he wants us to hold the mustard and the mayo. How about just hold the flavor altogether?
Annie: Right, I'll go get my things, and then let's fix the country, shall we? Prime Minister: Yeah, I can't see why not.
Annie Wilkes: MISERY IS ALIVE, MISERY IS ALIVE! OH, This whole house is going to be full of romance, OOOH, I AM GOING TO PUT ON MY LIBERACE RECORDS!
I'm not satirical in a traditional way. What I do is more about creating caricatures and cartoons. I am commentating on the nature of how we live through photography, and how you can twist an angle to create a different perception of a person.
I grew up in Belle Harbor, which is in New York City, but it has the most powerful sense of nature and seasons. It wasn't even the beach and the water. I just dreamt about everything that had to do with nature. I read about Thoreau.
I think that designers have an incredibly broad creative repertoire. They solve. They create images of perfection for any number of clients. I could never do that. I'm my client. That's the difference between an artist and a designer; it's a client r...
At the beginning of my career, as a boy from Peru in London, suddenly discovering British culture and society, I looked so much at the work of the photographers Cecil Beaton and Norman Parkinson, which seemed to represent a wonderful vanished grandeu...
When I worked as a music and fashion photographer, I always had the nagging feeling that there was something missing, that I wasn't using my skills productively. I gave up photography - I walked away from it completely - and started doing care work.
After a life of being entombed, essentially a slave to an unfair beginning, I am free. I'm a liberated whore of the world with little to no inhibitions." (Annie from upcoming book 3)
I actually think that 'States of Union' will be a lifelong endeavor for me. It won't take up all my energy as it has in recent years, but I imagine that I will always continue to add to the body of work - the project of documentation will never be en...
You work with people who are obsessive about shopping, obsessive about owning things and buying things, like this purchase is going to make them happy. And you want to say to them, 'You know, no amount of real estate is gonna fill that void.'
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...
I'm working in this very complex set of issues having to do with who we are as a species and how much we can do to the Earth before it starts to buckle under. My work can easily read as an indictment, but I don't see it as that simple a problem.
Technically, I have not changed very much. Ask my assistants. They'll tell you, I am the easiest photographer to work with. I don't have heavy equipment. I work out of one bag.
Since 1970, I've been using text and ephemera as well as photographs in order to tell stories of one kind or another. There's a thread that runs through all the work that is to do with bearing witness. The photographs are about asking questions, thou...
Looking back at my earlier pictures, I think that the work is very much coming from the same place. I have gone through a period of challenging myself with a complicated idea to currently challenging myself with the idea of simplicity.
I have a list of ideas that I want to do for my art series, but I'm always trying to figure out what's going to work. Ever since I was in art school, I would read and get ideas. Sometimes the photograph sparks an idea in me, and I continue in that di...
When I was in art school, there was a stigma attached to coming from comfortable suburbia. If you were from Great Neck, Long Island, you couldn't be a 'real artist', so I found crafty ways of implying that I was from New York.
