[Writer, b. 1934, Prague, Czechoslovakia, lives in New York.]
Are pictures there for anyone to “take”? Or are they made by the photographer?
[Artist, b. 1947, Hazleton, Pennsylvania, lives in New York.]
A picture is a tissue of quotations drawn from the innumerable centers of culture.
[Writer, curator, and critic, b. 1927, London, d. 1990, New York.]
If “a print is the widow of the stone,” to quote Robert Rauschenberg, then a photograph is the twin of an event.
[Photographer, b. 1951, Lexington, Virginia, lives in Lexington.]
Photography would seem to preserve our past and make it invulnerable to the distortions of repeated memorial superimpositions, but I think that is a fallacy: photographs supplant and corrupt the past, all the while creating their own memories.
[Writer, theorist, and critic, b. 1933, New York, d. 2004, New York.]
A photograph is not only an image (as a painting is an image), an interpretation of the real; it is also a trace, something directly stenciled off the real, like a footprint or a death mask.
[Photographer, b. 1938, Ikeda-cho, Osaka, Japan, lives in Tokyo.]
Photographs are pieces of the everlasting world—daily life—and fossils of light and time. They are also fragments of presentiment, inspiration, record, and memory about human beings and their history, as well as another language and world that becomes visible and intelligible through objectifying reality by means of cameras. They show us beauty and tenderness and also ugliness and cruelty now and then, not as the answer but always as a new question. I believe photographs to be pieces of an incomplete jigsaw puzzle. Which is why I have been and will be devoted to photography.
[Artist, b. 1931, National City, California, lives in Venice, California.]
There’s no such thing as a bad photograph.
[Photographer, b. 1943, Scandiano, Italy, d. 1992, Reggio Emilia, Italy.]
Reality is being transformed into a colossal photograph, and the montage already exists: it’s called the real world.