W. Eugene Smith
[Photographer, b. 1918, Wichita, Kansas, d. 1978, Tucson, Arizona.]

 In printing the photographs of the white-gowned Klan members I ran into considerable difficulty. There were several with uncovered faces and these faces were vividly dark in comparison to the white-white of the gowns that it was almost impossible to keep them from appearing black. I am terribly sorry. (Apology to his editor about images from his 1951 photo essay on the Ku Klux Klan in North Carolina.)  

Willi Muenzenberg
[Photographer, politician, and propagandist, b. 1889, Erfurt, Germany, d. 1940, Paris.]

 Photography has become an outstanding and indispensable means of propaganda in the revolutionary struggle. 

Catherine Opie
[Photographer, b. 1961, Sandusky, Ohio, lives in Los Angeles.]

 I concentrate on disturbing the devices that society imposes on variant communities to keep them “ghettoized” by class, race, sexuality, and gender. 

Allen Ginsberg
[Poet and writer, b. 1926, Newark, New Jersey, d. 1997, New York.]

 Whoever controls the media—the images—controls the culture. 

Susie Linfield
[Writer and critic, New York, lives in New York.]

 Without a political context, it is impossible to understand a photograph. This is true even—or especially—of political photographs themselves. 

Lewis Baltz
[Photographer, b. 1945, Newport Beach, California, d. 2014, Paris.]

 I saw a world that was being shoved down my throat, and I thought by putting up a mirror to it I could show it to itself. 

Craig Owens
[Writer and critic, b. 1950, d. 1990.]

 Representation, then, is not—nor can it be—neutral; it is an act—indeed the founding act—of power in our culture. 

Allan Sekula
[Photographer, writer, and theorist, b. 1951, Erie, Pennsylvania, d. 2013, Los Angeles.]

 The making of a human likeness on film is a political act. 
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