Philip Jones Griffiths
[Photojournalist, b. 1936, Rhuddian, Wales, d. 2008, London.]

 Virtually the whole of society believes in what they believe not by direct experience but by what they’ve been told. We photographers are in this exalted, privileged position of actually going out to find out for ourselves, and that’s why we’re so dangerous. Because we were there. We saw what happened. 

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

 Whoever controls the media—the images—controls the 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. 

Barbara Kruger
[Artist, b. 1945, Newark, New Jersey, lives in New York.]

 Is it possible to construct a way of looking which welcomes the presence of pleasure and escapes the deceptions of desire? How do we, as women and as artists, navigate through the marketplace that constructs and contains us? I see my work as a series of attempts to ruin certain representations and to welcome a female spectator into the audience of men. 

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. 

William J. T. Mitchell
[Writer, theorist, and architect, b. 1944, Melbourne, Australia, lives in Cambridge, Massachusetts.]

 ...people have always known, at least since Moses denounced the Golden Calf, that images were dangerous, that they can captivate the onlooker and steal the soul. 

Edmundo Desnoes
[Writer, b. 1930, Havana, Cuba, lives in New York.]

 The richness of our contemporary visual world must be seen as a danger. It is an overwhelming and oppressive world. A world that manifests itself fundamentally through the image is only a few steps from totalitarian manipulation. 

Lucy Lippard
[Critic and writer, b. 1936, New York, lives in Galisteo, New Mexico.]

 Photographers find themselves directly in competition with mass media’s misrepresentations of women. So the photographic terrain is particularly contested from a political point of view. 
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