Henry Holmes Smith
[Artist and teacher, b. 1909, Bloomington, Illinois, d. 1986, San Rafael, California.]

 People are competing to win at a game that is a loser’s game. The game is to have better routine images than someone else’s routine images. If you want a prescription for routine images, you just have to go through any student’s portfolio. 

Walker Evans
[Photographer, b. 1903, St. Louis, Missouri, d. 1975, New Haven, Connecticut.]

 [The subway portraits were] a rebellion against studio portraiture.... I was angry. It was partly angry protest—not social, but aesthetic—against posed portraiture. 

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. 

Richard Prince
[Artist, b. 1949, Panama Canal Zone, lives in New York.]

 There was a point where I noticed that things had changed in the Marlboro ad. They got rid of the famous guy, a certain model who used to be in all the ads. They took him out and started using other people. That’s when I went after it. That’s when I stole it.... This was a famous campaign. If you’re going to steal something, you know, you go to the bank. 

Horst Faas
[Photojournalist, b. 1933, Berlin, Germany, d. 2012, Munich, Germany.]

 I think we have another Pulitzer here. (On his his first viewing of Nick Ut’s photograph of Kim Phuc fleeing the village of Trang Bang, Vietnam after it was napalm bombed in 1972.) 

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) 

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

 The teaching of photography tends to be cordoned off from what goes on in the rest of the art department. So while young painters are reading art magazines and often as not following to some degree developments in film, performance or video, photography students are reading photography magazines, disputing the merits of documentary mode over self expression, or resurrecting onto the fourth generation an exhausted formalism that can no longer generate either heat or light. 

Duane Michals
[Photographer, b. 1932, McKeesport, Pennsylvania, lives in New York.]

 The best part of us is not what we see, it’s what we feel. We are what we feel. We are not what we look at .... We’re not our eyeballs, we’re our mind. People believe their eyeballs and they’re totally wrong... That’s why I consider most photographs extremely boring—just like Muzak, inoffensive, charming, another waterfall, another sunset. This time, colors have been added to protect the innocent. It’s just boring. But that whole arena of one’s experience—grief, loneliness—how do you photograph lust? I mean, how do you deal with these things? This is what you are, not what you see. It’s all sitting up here. I could do all my work sitting in my room. I don’t have to go anywhere. 
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