I think I’m really fortunate to be an installation artist who is heavily invested in photography: I don’t have the emotional problems with the loss of work that some installation artists have. The photographs wouldn’t exist without the installation... but at the same time, I think I’d kill myself if I only did installations. There’s something deeply tragic about doing work that you know is temporal.
If you could see a photograph of what it took to make an advertising photograph—things you don’t think about, like the photo assistant carefully arranging the meatballs—the degree of unnaturalness would be astonishing. Yet it produces an image that looks natural, and is orchestrated to provoke basic emotional responses.