[Artist, b. 1960, Bronx, New York, lives in New York.]
The impulse to reuse, recycle, and recontextualize is nothing new. What is new is the overabundance of images we have to choose from. The task is to see whether something can be made from them. I do not wish to add any more. (2012)
[Photographer, b. 1950, New York, lives in Johannesburg, South Africa.]
Nothing is staged. And nothing is already there. Everything is transformed through the camera.
[Photographer, b. 1940, Brooklyn, New York, lives in Cambria, California.]
In my old age I no longer see the difference between documentary and staged. (2012, age 71)
[Photographer, b. 1946, Vancouver, Canada, lives in Vancouver.]
I’m struck by things I’ve seen, but I don’t photograph them. If they persist in my mind, I try to recreate them.
[Photographer, b. 1955, Leipzig, Germany, lives in Dusseldorf.]
Paradoxically, this view of the Rhine cannot be obtained in situ; a fictitious construction was required to provide an accurate image of a modern river. (On his photograph Rhein II)
[Artist, b. 1955, New York, lives in New York and Iceland.]
A non-analogue image has an extremely compressed life. It starts as this and, in increasingly short time spans, becomes that.
Walter Benn Michaels
[Writer and critic, b. 1948, lives in Chicago.]
What a [Cindy Sherman] photograph shows is an object that has been called into the world by the existence of cameras; the pose, as pose, calls attention to this fact and criticizes the world the camera has made; the camera, then, records this critique.
[Photographer, b. 1953, Washington, D.C., lives in New York and Paris.]
When you set up pictures you’re not at any risk. Reality involves chance and risk and diving for pearls.