Bell Hooks Quotes

Pictures are packaged and cast by agents.

We have become a nation of Kodachrome, Nikon, Instamatic addicts. But we haven't yet developed a clear idea of the ethics of picture-taking. ... Where do we get the right to bring other people home in a canister? Where did we lose the right to control our image?

I think, at the L.A. County Museum of Art, I saw my first example of Kerry James Marshall, who had a very sort of heroic, oversized painting of black men in a barbershop. But it was painted on the same level and with the same urgency that you would see in a grand-scale [Anthony] van Dyck or [Diego] Velazquez. The composition was classically informed; the painting technique was masterful. And it was something that really inspired me because, you know, these were images of young, black men in painting on the museum walls of one of the more sanctified and sacred institutions in Los Angeles.

Well, there were definitely elements of my rise in radio that had to do with my being black. But going back as far as Walter Winchell, Army Archerd and Hedda Hopper, legendary wags would grab a radio microphone and talk about what Errol Flynn and other stars were up to.

A photographic portrait is a picture of someone who knows he's being photographed, and what he does with this knowledge is as much a part of the photograph as what he's wearing or how he looks. He's implicated in what's happening, and he has a certain real power over the result.

Because I'm interested in depiction, representation, therefore you're interested in photography. You don't ignore it.

Evidently there is no need for delay, no need for further study, if the government takes a loss and Wall Street makes a profit, but it is absolutely necessary to delay if homeowners might have a chance to cut their mortgages and stay in their homes. This is wrong, and it is time to fight back!

We are not always totally happy about how we are portrayed.

The popular idea of a role model implies that an adult's influence on a child is primarily occupational, and that all a black child needs is to see a black doctor, and then this child will think, "Oh, I can become a doctor too."

Our aim - our only aim - is to be at home in Christ. He's not a roadside park or hotel room. He's our permanent mailing address. Christ is our home. He's our place of refuge and security. We're comfortable in his presence, free to be our authentic selves. We know our way around in him. We know his heart and his ways. We rest in him, find our nourishment in him. His roof of grace protects us from storms of guilt. His walls of providence secure us from destructive winds. His fireplace warms us during the lonely winters of life. We linger in the abode of Christ and never leave.

I think some industries are so far behind the rest of humanity, in the way they see characters and cast shows. Once those walls get broken down, it changes everything.

There's such a craving to make Egypt white or Asian, people don't just even listen to you. When you explain why would anyone build anything as enduring as the Pyramids in Africa before they would build anything of that nature at home?

Photographs objectify: they turn an event or a person into something that can be possessed.

3D is very exciting. I love it. I'm a complete convert. Everything for me, from now on, is 3D. I'm completely convinced it's the future of home entertainment, as well as cinema entertainment. I think it's a paradigm shift, in terms of cinema, and those things don't happen very often. The introduction of sound, the introduction of color photography and now 3D have been the big shifts. They happen once every 40 or 50 years, so it's very exciting to be a filmmaker, working while one of them is happening.

I've had people say to me, "Well, how do I start collecting artworks?" Well, you start by buying. Buy what you like, buy what you can afford - and I'm not just saying that because I'm a dealer. You can't be so paralyzed to where you keep saying, "I've got to learn more." The best way to learn is to go home and actually put something on the wall. Then you've got an investment. Then you're living with it. Then you're in the game.

Every artist I suppose has a sense of what they think has been the importance of their work. But to ask them to define it is not really a fair question. My real answer would be, the answer is on the wall.

Most people sitting at home aren't cool, successful, witty Hollywood stars, but they all worry about what people think of them when they faux pas.

At this sunset hour, the canyon walls are indescribably beautiful and I fear the magic of photography can never record what I see now. The tall spires near the canyon's top and the walls of the canyon up there look as if God had reached out and swiped a brush of golden paint across them, gilding these rocks in the bright glow of the setting sun.

My Dad took a workshop from a photographer who worked at the Toledo Blade, a newspaper I delivered. I knew this photographer's work. My Dad took a night class from him at the University of Toledo. Without that class, I wouldn't have become a photographer, because my Dad came home and taught me what he learned in class.

As a model, I am at the mercy of everybody else. It's much more of a situation where I go to work, put the clothes on, get in front of the camera, and then go home. But in that process, I never really have control over any of it. So, putting out a record, it's such a brilliant opportunity to be in control of things. It's my world, my music, and I can put it out there in a way that is meaningful to me.

Sometimes I would go home from work and just stare at the wall for a couple of hours. But, I can't complain. Whatever knocks you out working is the kind of work that I want to be doing because it's always those challenges that are the most exciting, and the things I hope to get to keep doing in my work.

I think black people have to be in control of their own image because film is a powerful medium. We can't just sit back and let other people define our existence.

My photographs are not really about photography. They are about editing. I use photography but they are all taken from the TV screen. Anybody can do that, but it's the order I put the pictures in to try to create a new kind of movie, something that you can put on your wall.

People robbed of their past seem to make the most fervent picture takers, at home and abroad.

The way I would describe a pictorial is that it is a picture that makes everybody say ‘Aaaaah,’ with five vowels when they see it. It is something you would like to hang on the wall. The french word ‘photogenique’ defines it better than anything in English. It is a picture which must have quality, drama, and it must, in addition, be as good technically as you can possible make it.