Any familiarity with photographic history shows that manipulation is integral to photography.

Any familiarity with photographic history shows that manipulation is integral to photography.

I was concerned with something like the notion of 'language speaking the subject,' and with the transformation of the woman herself into a sign in a system of signs that represent a system of food production, a system of harnessed subjectivity.

So much of my work involved the Vietnam War that it would have been obscene to show it in a gallery. But now, it’s different; it’s important to remember and to enable the young to discover what to some of us is still so present.

Just going out on a foray to assemble a collection of street trophies about this or that running social sore can't be effective - and never was.

The exposé, the compassion and outrage, of documentary fueled by the dedication to reform has shaded over into combinations of exoticism, tourism, voyeurism, psychologism and metaphysics, trophy hunting - and careerism.

Are we asserting the easy dominion of our civilization over all times and all places, as signs that we casually absorb as a form of loot?