“Time eventually positions most photographs, even the most amateurish, at the level of art.”
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Susan Sontag168
American writer and filmmaker, professor, and activist 1933–2004Related quotes
“Photographs… are the most curious indicators of reality.”
Erica Jong (1942) Novelist, poet, memoirist, critic
How to Save Your Own Life (1977)
“The most positive men are the most credulous…”
Alexander Pope (1688–1744) eighteenth century English poet
Thoughts on Various Subjects (1727)
“Obstinacy is ever most positive when it is most in the wrong.”
Suzanne Curchod (1737–1794) French-Swiss salonist and writer
Reported in Louis Klopsch, ed., Many Thoughts of Many Minds: A Treasury of Quotations From the Literature of Every Land and Every Age (1896), p. 195.
Arnold Hauser (1892–1978) Hungarian art historian
Source: The Social History of Art, Volume III. Rococo, Classicism and Romanticism, 1999, Chapter 6. German and Western Romanticism
Bertolt Brecht (1898–1956) German poet, playwright, theatre director
"Freedom for Whom", as translated in Brecht on Brecht : An Improvisation (1967) by George Tabori, p. 18
Context: Firebugs dragging their gasoline bottles
Are approaching the Academy of Arts, with a grin.
And so, instead of embracing them, Let us demand the freedom of the elbow
To knock the bottles out of their filthy hands.
Even the most blockheaded bureaucrat,
Provided he loves peace,
Is a greater lover of the arts
Than any so-called art-lover
Who loves the arts of war.
Lewis Mumford (1895–1990) American historian, sociologist, philosopher of technology, and literary critic
"Revolt of the Demons", p. 399
Interpretations and Forecasts 1922-1972 (1973)
“The Earth is Art, The Photographer is only a Witness”
Yann Arthus-Bertrand Earth from Above
Source: Earth from Above
Alexander Rodchenko (1891–1956) Russian artist and photographer
Quote, 1930: from Rodchenko lecture at the October group's meeting; as quoted by Margarita Tupitsyn in Chapter 'Fragmentation versus Totality: The Politics of (De)framing', in The great Utopia - The Russian and Soviet Avant-Garde, 1915-1932; Guggenheim Museum, New York, 1992, p. 486
the issue was not to take 'photo pictures' of the entire object but to make 'photo stills' of characteristic parts of an object
