When you look at a picture with the certain degree of ambiguity,
your perception heightens it.
And you try to figure out that from all kinds of possible references.
You don't know what it is, and
you are completely open to any kind of way of thinking about it.
[MUSIC]
When I knew that The Museum of Modern Art was organizing Stieglitz at Lake George,
I went to see it in an afternoon.
That show got me in a mood of looking for things in things,
which is something that you do when you look at clouds one way or another.
And the beautiful thing about Stieglitz Equivalents is that,
the fact that you're always seeing forms in clouds.
In the Equivalents you don't.
You just see clouds.
[MUSIC]
I just saw the show, and
right after leaving it you had these amazing marble floors.
I kept thinking about clouds, and when I leaved, I looked at the floor and
I saw all these clouds, and then I took the camera and
I started shooting the clouds right there and this whole thing.
>> I remember, I used to work, I was there, I remember those floors well.
>> And then what I did, I went to the gift shop and
I got a piece of paper to draw, and a little pair of scissors and
I made this little round thing that looked like the moon.
And I started shooting it there and a security guy came and tried to ask me what
I was doing and I said, no, I'm just taking pictures of the floor.
And then he was like, you cannot do this, I said, why not?
I'm just taking pictures of the floor.
I mean people take pictures of artworks, you don't mind.
And I went out to the street then came back and I shot like four rolls of film.
[MUSIC]
I wanted to make something that looked just like a Stieglitz but then it was just
the floor of the museum in front of the exhibition where a Stieglitz was.
