Charlotte Cotton
[Curator and author, b. 1981, Cotswolds, England, lives in London.]

 The fault line is the idea, that if it is about an idea, having twelve doesn’t make them any better. 
 We are not only a civilization of amateur photographers; we are amateur curators, editors, and publishers. 
 The internet does not adhere to the inherent, necessary asymmetry of high-versus-low-art categorizations that we use in the cultural sector: in a banal sense, all photographs on the Web are orphans ready to be claimed. 
 Photography is, and has been since its conception, a fabulously broad church. Contemporary practice demonstrates that the medium can be a prompt, a process, a vehicle, a collective pursuit, and not just the physical end product of solitary artists’ endeavors. 
 I must say that in all the time I’ve worked in photography, portfolios have tended to be this mismatch of pictures that a photographer recognizes as being good pictures… And then there are the other ones, which I sometimes call “itchy-scratchy” pictures. They trouble you; you don’t know whether it is the picture or if it is a cue to what will happen next. 
 … I think that has become a sign of photography as contemporary art — how much time you will spend with the pictures that don’t appear as good pictures?