... a photograph has to be specific. I remember a long time ago when I first began to photography I thought, There are an awful lot of people in the world and it's going to be terribly hard to photograph all of them, so if I photograph some kind of generalized human bein, everybody'll recognize it. It'll be like what they used to call the common man or something. It was my teacher, Lisette Model, who finally made it clear to me that the more specific you are, the more general it'll be. You really have to face that thing. And there are certain evasions, certain nicenesses that I think you have to get out of.
This point about specificity reminds me of an anecdote from Robert Pirsig's Zen and the Art of Motorcycle Maintenance, an account of how a student in his class struggled to write an essay about her hometown until he convinced her that describing a building is easier than describing a town and that describing an individual brick is easier than describing a building. I try to remember that when I teach writing. The power of the close-up.
In 2005 the Arbus archives were on display at the Met. We happened to visit the museum the first day the exhibit opened, and I was delighted to discover it. But then we found that on that day admission to the exhibit was limited to those with special tickets. I had to see it though, so I snuck in through the exit and was able to see it all.
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Don Aucoin profiles poet Afaa Michael Weaver
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In Shenandoah, an interview with Wendell Berry
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Sociologists are using Facebook for research into such topics as "triadic closure"
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"Locavore" named "word of the year" by the New Oxford American Dictionary
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"W00t" named "word of the year" by Merriam-Webster
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As Oprah gets more political, a look back at her life and career by Lee Siegel
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Poems from Guantanamo prisoners
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