Jeff Wall
[Photographer, b. 1946, Vancouver, Canada, lives in Vancouver.]

 [Near documentary] means that they are pictures whose subjects were suggested by my direct experience, and ones in which I tried to recollect that experience as precisely as I could, and to reconstruct and represent it precisely and accurately. 

Pedro Meyer
[Photographer, b. 1935, Madrid, Spain, lives in Mexico City.]

 The notion of the real and the fake has come full circle. We now tend to dismiss the real because it looks like a fake. The “truth” is that in their own way, when all is said and done, all fakes and surrogates also become their own sort of original. 

Edward Steichen
[Photographer and curator, b. 1879, Luxembourg, Germany, d. 1973, West Redding, Connecticut.]

 Every photograph is a fake from start to finish. 

Joe Rosenthal
[Photographer, b. 1911, Washington, D.C., d. 2006, Novato, California.]

 It has been done in oils, water colors, pastels, chalk and match sticks. A float based on it won a prize in a Rose Bowl parade, and the flag-raising has been re-enacted by children, by gymnasts... and as a part of the Orange Bowl pageant in Miami. It has been sculpted in ice and in hamburger. (On his photograph of U.S. Marines raising the American flag on Mt. Suribachi, Iwo Jima.) 

George Orwell (Eric Arthur Blair)
[Writer, b. 1903, Motihari, Bengal, India, d. 1950, London.]

 It was true that there was no such person as Comrade Oglivy, but a few lines of print and a couple of faked photographs would soon bring him into existence... Comrade Oglivy, who had never existed in the present, now existed in the past, and when once the act of forgery was forgotten, he would exist just as authentically, and upon the same evidence, as Charlemagne or Julius Caesar. 

James McNeill Whistler
[Artist, b. 1834, Lowell, Massachusetts, d. 1903, London.]

 The imitator is a poor kind of creature. If the man who paints only the face, or flower, or other surface he sees before him were an artist, the king of artists would be the photographer. 

Jean Baudrillard
[Writer and theorist, b. 1929, Reims, France, d. 2007, Paris.]

 ... the age of simulation thus begins with a liquidation of all referentials—worse: by their artificial resurrection in systems of signs, a more ductile material than meaning... It is no longer a question of imitation, nor of reduplication, nor even of parody. It is rather a question of substituting signs of the real for the real itself. 

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

 What I find is that the taking, the stealing, the appropriation of images has to do with prior availability, and it sets up a degree where things can be shared... It’s like 50% off... You can let something of another emotion or another personality sign on your work, or co-sign it. 
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