Geoffrey Batchen
[Photohistorian, b. 1956, Australia, lives in Wellington, New Zealand.]
Human experience comes suspended in the sickly-sweet amniotic fluid of commercial photography. And a world normally animated by abrasive differences is blithely reduced to a single, homogeneous
National Geographic way of seeing.
Alfred Stieglitz
[Photographer and curator, b. 1864, Hoboken, New Jersey, d. 1946, New York.]
The sharp outlines which we Americans are so proud of as being proof of great perfection in our art are
untrue to Nature, and hence an abomination to the artist.
(1892)
Robert Rauschenberg
[Artist, b. 1925, Port Arthur, Texas, d. 2008, Captiva Island, Florida.]
My fascination with images open 24 hrs. is based on the complex interlocking if disparate facts heated pool that have no respect for grammar. The form then Denver 39 is second hand to nothing. The work then has a chance to electric service become its own cliché. Luggage. This is the inevitable fate fair ground of any inanimate object freightways by this I mean anything that does not have inconsistency as a possibility built in...
William Klein
[Photographer, b. 1928, New York, lives in Paris.]
I think there are two kinds of photography—Jewish photography and goyish photography. If you look at modern photography, you will find, on the one hand the Weegees, the Diane Arbuses, the Robert Franks—funky photographs. And then you have the people who go out in the woods. Ansel Adams, Weston. It’s like black and white jazz.
Laura Mulvey
[Writer and filmmaker, b. 1941, Oxford, lives in London.]
The defining male gaze projects its phantasy on to the female figure who is styled accordingly. In their traditional exhibitionist role women are simultaneously looked at and displayed, with their appearance coded for strong visual and erotic impact so that they can be said to connote
to-be-looked-at-ness.
