It's impossible to change the social without changing the personal - you have to put your money where your mouth is. And if you're not making those challenges at home, it's unlikely you'll make them in a larger setting.
The ideas I'm working with are ideas I'm committed to. I don't know how to soft-shoe them. I don't know how to make them more palpable. I just never knew how to be one of those girls. I wish I knew how to be that sometimes, but I don't know how to be that way.
I got my first camera when I was 21 - my boyfriend gave it to me for my birthday - but at that point politics was my life, and I viewed the camera as a tool for expressing my political beliefs rather than as an art medium.
I come from a family of Mississippi sharecroppers just a few generations away from slavery, and I experienced a lot of racism growing up - you can't avoid that if you're a person of color in this country.
I don't like directing a lot of people. So trying to keep things really simple and elegant is my preferred way of working.
In terms of digital photography, I continue to print and use film for the most part. I still shoot with film, 21/4 film specifically, and I love it. I love it because I know what it does, how it really responds to light.
My father was very interested in music, and when he and his brothers were young, they had a singing group that used to open for Sam Cooke. There was always music in our house, but there wasn't much art around.
I emerged in that incredible moment in the 1980s when all kinds of social questions about subjectivity and objectivity, about who was making, who was looking.
I think that still, for the most part, even in 2010, the vast majority of museum shows and gallery shows and gallerists are pretty much dominated by men. So having a sense of what women are up to, for me, frankly, is very, very important.
I really like the structure of my body. It moves well, it looks good, it photographs well, it understands gesture and nuance.
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