Alec Soth travelled from Minneapolis to Memphis, capturing everything in between:
"If the pictures in this book are about anything other than their shimmering surfaces," Alec Soth writes in the introduction to his new photo book, ,"they are about the process of their own making. They are about going into the ecstatically specific world and creating a connection between the ephemeral and the physical ."
This idea that photographs are fleeting things that only exist on screens and in text streams is still new to me and rather strange. So, I'm becoming increasingly aware of how generationally specific this questioning of the physical qualities of photography, and my attachment to those qualities, are.
In a perfect world, I do try to enter a kind of heightened mind-space. But I'd be lying if I said I got there every time. Generally, when I first go out photographing, I'm thinking too much and trying too hard, and often forcing things. Because this is my identity: I'm a photographer, and there is a pressure to produce something good. I have the same simple desire to impress people and draw praise as anyone.
Is collecting other people's archives something that you've been doing for a long time, or was that a new experiment for this project? In the film that accompanies this book, you question why we prefer to think of history as static images rather than the free-flowing thing it is. What are your thoughts on that now that the book is complete?
I think there's a similar dynamic at play with photography, wherein the finished photograph is only a reminder of being in the moment. The books that inspired me as a photographer were ones that evoked this feeling of discovery and experience, and that's what I want my work to do -- to inspire people to emulate my subjects, to get out in the world, or I suppose to emulate me, to take more pictures.Your images feel very spontaneous.
And it's wonderful! But you have to get people in the theatre in the first place, so how do you do that? Because once they're in, they'll give you the benefit of the doubt. That film could get made because of who Paul Thomas Anderson is, and I probably benefit from a similar thing. I could only think of publishing a book this sprawling and open-ended at this point in my career because I have a reputation to back me up. Whereas when I made Alec Soth, ‘Neil.
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