Paolo Gasparini
[Photographer, b. 1934, Gorizia, Italy, lives in Caracas, Venezuela.]

 I think photographs can help us learn how to look. How to think about and resist this world that’s consecrated to the grandiloquence of symbols that propagate lies and that, more and more, reduce and undervalue life. 

Mark Klett
[Photographer, b. 1952, Albany, New York, lives in Tempe, Arizona.]

 In this world, the spots where the present seems to overlap the past are the most important. These are the points when one becomes aware that the direction of the world can change. 

André Breton
[Artist, writer, editor, and critic, b. 1896, Tinchebray, France, d. 1966, Paris, France.]

 It is through the power of images that, in time, real revolutions may well be brought about. 

A.D. Coleman
[Critic and writer, b. 1943, New York, lives in New York.]

 Neutrality is in itself a political stance, favoring as it does the status quo. Why have we permitted this mythology of objectivity/neutrality to be pulled over our eyes? Why do we tolerate it from the mouths of those who, more than any, should know better—the photographers themselves? 

Sebastião Salgado
[Photographer, b. 1944, Aimores, Minas Gerias, Brazil, lives in Paris and Brazil.]

 You photograph with all your ideology. 

Saul Leiter
[Photographer, b. 1923, Pittsburgh, Pennsylvania, d. 2013, New York.]

 Some photographers think that by taking pictures of human misery, they are addressing a serious problem. I do not think that misery is more profound than happiness. 

John Heartfield (Helmut Franz Joseph Herzfeld)
[Artist, b. 1891, Munich, Germany, d. 1968, Berlin.]

 Use Photography as a Weapon! (Sign over the entrance to the John Heartfield room at the 1929 “Film und Foto” exhibition in Stuttgart.) 

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. 
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