"My favorite thing is to go where I've never been"
About this Quote
Restlessness dressed as a preference: "My favorite thing is to go where I've never been" sounds breezy until you remember it comes from Diane Arbus, a photographer who made a career out of walking toward what polite society trained itself to look away from. The line isn’t about tourism; it’s about appetite. Arbus frames novelty as necessity, a kind of ethical compulsion to breach the boundaries that keep people comfortable and categories intact.
The intent is practical and methodical. For a photographer, "where I've never been" is less geography than access: unfamiliar rooms, subcultures, living arrangements, faces that don’t show up in magazine fantasies. Arbus’s work thrives on that first-contact tension, the charged moment when the subject and the camera negotiate power. She’s signaling a practice of seeking situations where her own assumptions are most likely to fail.
The subtext is sharper: the known world is already contaminated by scripts. Familiar places come with agreed-upon roles; the "never been" promises an encounter before the narrative hardens. It’s also a self-indictment. Arbus implies that comfort is an aesthetic dead end, that familiarity breeds not just contempt but cliché. If she stays home, she risks photographing her own prejudices.
Context matters. Working in mid-century America, with its manicured normalcy and rigid social hierarchies, Arbus turned curiosity into a wedge. Her attraction to the unvisited reads as both rebellion and vulnerability: a desire to be unsettled, to be changed by what she sees, and to prove that the margins are not a spectacle but a mirror.
The intent is practical and methodical. For a photographer, "where I've never been" is less geography than access: unfamiliar rooms, subcultures, living arrangements, faces that don’t show up in magazine fantasies. Arbus’s work thrives on that first-contact tension, the charged moment when the subject and the camera negotiate power. She’s signaling a practice of seeking situations where her own assumptions are most likely to fail.
The subtext is sharper: the known world is already contaminated by scripts. Familiar places come with agreed-upon roles; the "never been" promises an encounter before the narrative hardens. It’s also a self-indictment. Arbus implies that comfort is an aesthetic dead end, that familiarity breeds not just contempt but cliché. If she stays home, she risks photographing her own prejudices.
Context matters. Working in mid-century America, with its manicured normalcy and rigid social hierarchies, Arbus turned curiosity into a wedge. Her attraction to the unvisited reads as both rebellion and vulnerability: a desire to be unsettled, to be changed by what she sees, and to prove that the margins are not a spectacle but a mirror.
Quote Details
| Topic | Wanderlust |
|---|---|
| Source | Help us find the source |
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