Dennis Stock
[Photographer, b. 1928, New York, d. 2010, Sarasota, Florida.]

 You try to get spontaneous situations, and you also are obliged to create situations. It’s not uncommon among photographers. 

Roger Ballen
[Photographer, b. 1950, New York, lives in Johannesburg, South Africa.]

 Nothing is staged. And nothing is already there. Everything is transformed through the camera. 

Glenn Ligon
[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) 

Larry Sultan
[Photographer, b. 1946, Brooklyn, New York, d. 2009, Greenbrae, California.]

 Literature especially has an interesting relationship to photography—to observation, to description, to fiction: taking something that you see and elaborating, jamming, and I think, staging.... taking that moment of observation and letting it go, giving it some wings, following it, rather than nailing it. You’re riffing off of reality. 

Barbara Kasten
[Photographer, b. 1936, Chicago, Illinois, lives in Chicago.]

 When I make a photograph, it’s not in the traditional style of using a camera to capture reality or to catch a fleeting moment of life. I use the camera to document a moment, but everything that it records is something that I’ve made with my hands. 

Justine Kurland
[Photographer, b. 1969, Warsaw, New York, lives mostly on the road.]

 There’s something political about creating a world that you want to exist. 

Jeff Wall
[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. 

Douglas Crimp
[Writer, theorist and critic, b. 1944, Coeur d'Alene, Idaho, lives in Rochester, New York.]

 The strategy of the [directorial] mode is to use the apparent veracity of photography against itself, creating one’s fictions through the appearance of a seamless reality into which has been woven a narrative dimension. (1980) 
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