Context: I would never apologize for photographing rocks. Rocks can be very beautiful. But, yes, people have asked why I don’t put people into my pictures of the natural scene. I respond, “There are always two people in every picture: the photographer and the viewer.” That usually doesn’t go over at all.
“Every part of the photographic image carries some information that contributes to its total statement; the viewer's responsibility is to see, in the most literal way, everything that is there and respond to it”
Becker (1986) "Do Photographs Tell the Truth?” and “Aesthetics and Truth" as cited in: Ingolf Erler (2010) Das Buch als soziales Symbol. p. 147.
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Howard S. Becker 35
American sociologist 1928Related quotes
“There are two people in every photograph: the photographer and the viewer”
as cited in Steven Yantis (2001) Visual Perception: Essential Readings, p. 117.
Vision, 1982
1960s
Source: 'A period of Exploration', McChesney, as quoted in The New York school – the painters & sculptors of the fifties, Irving Sandler, Harper & Row, Publishers, 1978, p 35
“Serial Project #1, 1966,” Aspen 5/6 (Fall/Winter 1967)
Quotes of Sol Lewitt
1960s, I've Been to the Mountaintop (1968)
Context: As you know, if I were standing at the beginning of time, with the possibility of general and panoramic view of the whole human history up to now, and the Almighty said to me, "Martin Luther King, which age would you like to live in?" — I would take my mental flight by Egypt through, or rather across the Red Sea, through the wilderness on toward the promised land. And in spite of its magnificence, I wouldn't stop there. I would move on by Greece, and take my mind to Mount Olympus. And I would see Plato, Aristotle, Socrates, Euripides and Aristophanes assembled around the Parthenon as they discussed the great and eternal issues of reality.
But I wouldn't stop there. I would go on, even to the great heyday of the Roman Empire. And I would see developments around there, through various emperors and leaders. But I wouldn't stop there. I would even come up to the day of the Renaissance, and get a quick picture of all that the Renaissance did for the cultural and esthetic life of man. But I wouldn't stop there. I would even go by the way that the man for whom I'm named had his habitat. And I would watch Martin Luther as he tacked his ninety-five theses on the door at the church in Wittenberg.
But I wouldn't stop there. I would come on up even to 1863, and watch a vacillating president by the name of Abraham Lincoln finally come to the conclusion that he had to sign the Emancipation Proclamation. But I wouldn't stop there. I would even come up the early thirties, and see a man grappling with the problems of the bankruptcy of his nation. And come with an eloquent cry that we have nothing to fear but fear itself.
But I wouldn't stop there. Strangely enough, I would turn to the Almighty, and say, "If you allow me to live just a few years in the second half of the twentieth century, I will be happy." Now that's a strange statement to make, because the world is all messed up. The nation is sick. Trouble is in the land. Confusion all around. That's a strange statement. But I know, somehow, that only when it is dark enough, can you see the stars. And I see God working in this period of the twentieth century in a way that men, in some strange way, are responding — something is happening in our world. The masses of people are rising up. And wherever they are assembled today, whether they are in Johannesburg, South Africa; Nairobi, Kenya: Accra, Ghana; New York City; Atlanta, Georgia; Jackson, Mississippi; or Memphis, Tennessee — the cry is always the same — "We want to be free."
Quoted in "Suicide Squads: Axis and Allied Special Attack Weapons of World War II" - Page 267 - by Richard O'Neill - History - 1981.