Lewis Baltz
[Photographer, b. 1945, Newport Beach, California, d. 2014, Paris.]

 I wanted [my photography] to appear as though the camera was seeing by itself. 
 I assumed from the outset that photography was already art, and that I and other people working in photography were artists. I understand now that this was a minority point of view. 
 I think being a photographer is a little like being a whore: if you’re really really good at it, nobody will call you that. 
 Photographs no longer provoke a meditation upon external phenomena, but on the conditions of their own existence. 
 The ideal photographic document would appear to be without author or art. 
 The world was already in the condition of art, waiting to be noticed as such. As Robert Irwin famously said, “I feel like a man sitting beside a river selling water.” 
 I used photography to distance myself from a world that I loathed and was powerless to improve. 
 If you read what, say, Weston was writing in the 1920s he talked about an industrial medium, reflective surfaces, contemporary subject matter—it’s a straighter line to [Ed] Ruscha’s 26 Gas Stations than it would ever be to Ansel Adam’s pictures of Yosemite and their kitschy calendar sensibility. 
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