Nancy Burson
[Photographer and artist, b. 1948, St. Louis, Missouri, lives in New York.]
All of my early images were really visual experiments to me. They were attempts to answer unasked questions like, what happens if you put images of six men and six women together, or if we combined a monkey’s image with a human, would the result approximate an image of early man?
Michael Light
[Photographer, b. 1963, Florida, lives in San Francisco.]
I am a photographer who likes to make images, but I also want to get a sense and understanding of images that have already been made. I don’t fabricate worlds; I pay attention to the things that already surround us.
Robert Heinecken
[Photographer, b. 1931, Denver, d. 2006, Albuquerque, New Mexico.]
Many pictures turn out to be limp translations of the known world instead of vital objects which create an intrinsic world of their own. There is a vast difference between taking a picture and making a photograph.
Elliott Erwitt
[Photographer, b. 1928, Paris, France, lives in New York.]
Now very often events are set up for photographers... The weddings are orchestrated about the photographers taking the picture, because if it hasn’t been photographed it doesn’t really exist.
Beate Gütschow
[Photographer, b. 1970, Mainz, Germany, lives in Berlin and Hamburg, Germany.]
In my work, ideal means not to exclude ugliness, it means to construct reality.
Eleanor Antin
[Artist, b. 1935, New York, lives in San Diego, California.]
Why should I be limited by my own biography?
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...
Joel Sternfeld
[Photographer, b. 1944, New York, lives in New York.]
Some of the people who are now manipulating photos, such as Andreas Gursky, make the argument—rightly—that the “straight” photographs of the 1940s and 50s were no such thing. Ansel Adams would slap a red filter on his lens, then spend three days burning and dodging in the dark room, making his prints. That’s a manipulation. Even the photographs of Henri Cartier-Bresson, with all due respect to him, are notoriously burned and dodged.
