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 done absolutely everything.
Interpretation
Duane Michals emphasizes the diverse paths photographers can take and the importance of versatility in their careers.
In this quote, Duane Michals contrasts two types of photographers: those who find success in commercial work without having a broader artistic recognition, and those who achieve acclaim in art galleries but struggle in the commercial realm. By stating that he has done 'absolutely everything,' Michals highlights the significance of being multifaceted and adaptable in the photography world, suggesting that true success lies in the ability to thrive in both commercial and artistic environments.
In practice
In a speech about creative careers, you might say, 'As Duane Michals once noted, success can come from embracing both commercial and artistic paths in photography.'
Photographers usually want to photograph facts and things. But I'm interested in the nature of the thing itself. A photograph of someone sleeping tells me nothing about their dream state; a photograph of a corpse tells me nothing about the nature of death. My work is about my life as an event, and I find myself to be very temporal, transient.
Flowers construct the most charming geometries: circles like the sun, ovals, cones, curlicues and a variety of triangular eccentricities, which when viewed with the eye of a magnifying glass seem a Lilliputian frieze of psychedelic silhouettes.
I think photographs should be provocative and not tell you what you already know. It takes no great powers or magic to reproduce somebody's face in a photograph. The magic is in seeing people in new ways.
A lot of photographers walk around looking for something 'out there,' but I'm very much interested in what's 'in here.'
Photography is essentially an act of recognition by street photographers, not an act of invention. Photographers might respond to an old man’s face, or an Arbus freak, or the way light hits a building—and then they move on. Whereas in all the other art forms, take William Blake, everything that came to that paper never existed before. It’s the idea of alchemy, of making something from nothing.
I don't outline at all; I don't find it useful, and I don't like the way it boxes me in. I like the element of surprise and spontaneity, of letting the story find its own way.
I do not over-intellectualize the production process. I try to keep it simple: Tell the damned story.
You do not write a novel for praise, or thinking of your audience. You write for yourself; you work out between you and your pen the things that intrigue you
It is shameful that dancing should renounce the empire it might assert over the mind and only endeavor to please the sight.
I'm surprised by the talent I find all over. There are always new chefs who propose many interesting new ideas, new ways of looking at ingredients.
The artist is a strange being. I think it's safe to say that a real artist is conscious of having a personal singularity that is partly a blessing and partly a curse. An artist enjoys and suffers from isolation. As solitude, isolation can nurture. It can also destroy.
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