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

 Images, the visual power of present-day capitalism, like the ritual constructions of ancient Egypt, are refined ways of inhibiting and crushing man. 

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

 When Bill Gates started Corbis we were told that he needed images to fill those “digital picture frames” in his home, and many found this plausible. But now it’s pretty clear that he’s set out to control the visual history of the twentieth century. 

Martha Rosler
[Artist, b. 1943, Brooklyn, New York, lives in New York.]

 Just going out on a foray to assemble a collection of street trophies about this or that running social sore can’t be effective—and never was. 

Georges Didi-Huberman
[Writer and thinker, b. 1953, Saint-Etienne, France, lives in Paris.]

 These days, everyone seems to agree that images are at the heart of our culture, in our acts of barbarity or, in any case, our political apparatus. So thinking about images leads to an awareness of the situation… (2006) 

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.)  

David Levi Strauss
[Writer and critic, b. 1953, Junction City, Kansas, lives in New York.]

 The first question must always be: Who is using this photograph, and to what end? 

Abigail Solomon-Godeau
[Writer and theorist, b. 1947, New York, lives in Santa Barbara, California.]

 In the final analysis, photography... is ever a hireling, ever the hired gun. 

bell hooks
[Educator and writer, b. 1952, Hopkinsville, Kentucky, lives in New York.]

 When we concentrate on photography, we make it possible to see the walls of photographs in black homes as a critical intervention, a disruption of white control over black images. 
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