I'm not interested into victim photography. Photographing people suffering and putting it on a museum wall is too weird. — Richard Misrach Copy Share Image
In spite of recent trends towards fabricating photographic narratives, I find, more than ever, traditional photographic capture, the 'discovery' of found narratives,… — Richard Misrach Copy Share Image
The one thing that seems to be consistent through all my work that I like, and I experimented a lot, is the… — Richard Misrach Copy Share Image
... despite the limitations and problems inherent to photographic representation (and especially the representation of politics), it remains for me the most… — Richard Misrach Copy Share Image
To me, the work I do is a means of interpreting unsettling truths, of bearing witness, and of sounding an alarm. The… — Richard Misrach Copy Share Image
Our experience with knowledge, the way we know things, is not that neat. It doesn't fit into a grand narrative, the way… — Richard Misrach Copy Share Image
People have responded to the pictures I make as mystical things, and they somehow carry the illusion further thinking that the place… — Richard Misrach Copy Share Image
I think this is the most exciting time in the history of photography. Technology is expanding what photographers can do, like the… — Richard Misrach Copy Share Image
I am not unaware that I have the mindset, as contradictory as it may sound, to discover in the world what I… — Richard Misrach Copy Share Image
The very act of representation has been so thoroughly challenged in recent years by postmodern theories that it is impossible not to… — Richard Misrach Copy Share Image
The desert ... may serve better as the backdrop for the problematic relationship between man and the environment. The human struggle, the… — Richard Misrach Copy Share Image
One of the things that was really influential early on was Ezra Pound's Cantos, one poem he worked on for 50 years.… — Richard Misrach Copy Share Image
The one thing that seems to be consistent through all my work that I like, and I experimented a lot, is the viewer is… — Richard Misrach Copy Share Image
People have responded to the pictures I make as mystical things, and they somehow carry the illusion further thinking that the place is this… — Richard Misrach Copy Share Image
I'm not interested into victim photography. Photographing people suffering and putting it on a museum wall is too weird. — Richard Misrach Copy Share Image
The desert ... may serve better as the backdrop for the problematic relationship between man and the environment. The human struggle, the successes ...… — Richard Misrach Copy Share Image
The very act of representation has been so thoroughly challenged in recent years by postmodern theories that it is impossible not to see the… — Richard Misrach Copy Share Image
I am not unaware that I have the mindset, as contradictory as it may sound, to discover in the world what I am in… — Richard Misrach Copy Share Image
Our experience with knowledge, the way we know things, is not that neat. It doesn't fit into a grand narrative, the way we've been… — Richard Misrach Copy Share Image
In spite of recent trends towards fabricating photographic narratives, I find, more than ever, traditional photographic capture, the 'discovery' of found narratives, deeply compelling. — Richard Misrach Copy Share Image
I've come to believe that beauty can be a very powerful conveyor of difficult ideas. — Richard Misrach Copy Share Image
One of the things that was really influential early on was Ezra Pound's Cantos, one poem he worked on for 50 years. It's epic.… — Richard Misrach Copy Share Image
... despite the limitations and problems inherent to photographic representation (and especially the representation of politics), it remains for me the most powerful and… — Richard Misrach Copy Share Image
