“The conversations are exasperated, the verdicts swift, conclusive and seemingly absolute. The goal is to protect and condemn work, not for its quality, per se, but for its values. Is this art or artist, this character, this joke bad for women, gays, trans people, nonwhites? Are the casts diverse enough? Is this museum show inclusive of enough different kinds of artists? Does the race of the curators correspond with the subject of the show or collection? Increasingly, these questions stand in for a discussion of the art itself.” — Wesley Morris, in an article titled The Morality Wars in the NY Times Magazine, Oct. 3, 2018
“But criticism isn’t about saying what’s bad — well, not only. It’s partly about situating a work in the world, in your feelings, in your collection.” — Wesley Morris, ibid.
“There are as many photographs possible from a single negative as the artist can imagine. I can never bear to finish with a negative, to say, ‘This is it.’ Tomorrow I can come and make new pictures from that negative. This is the thing I love most of all: the making of the final picture. No one else can do that for me, nor do I ever completely satisfy myself.” – Nell Dorr
– Extreme, extreme photography
– Milky Way panorama
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– Seven important landscape lessons Acquired wisdom
– Fine art still life, setup and lighting
– Street photography with a twist
– Underwater macro: incredible colors and shapes: animals that look like they come from another planet
– Underwater in the the Inside Passage
– Joel Meyerowitz