Susan Sontag
[Writer, theorist, and critic, b. 1933, New York, d. 2004, New York.]

 A photograph is not only an image (as a painting is an image), an interpretation of the real; it is also a trace, something directly stenciled off the real, like a footprint or a death mask. 

Arthur Tress
[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) 

Donna Ferrato
[Photographer, b. 1949, Waltham, Massachusetts, lives in New York.]

 What makes me really happy is to get deep into the muck and juicy good stuff of people’s lives. 

Martha Rosler
[Artist, b. 1943, Brooklyn, New York, lives in New York.]

 The exposé, the compassion and outrage, of documentary fueled by the dedication to reform has shaded over into combinations of exoticism, tourism, voyeurism, psychologism and metaphysics, trophy hunting—and careerism. 

Joan Fontcuberta
[Photographer, b. 1955, Barcelona, lives in Barcelona.]

 I need there to be documentary photographers, because my work is meta-documentary; it is a commentary about the documentary use of photography. 

Allan Sekula
[Photographer, writer, and theorist, b. 1951, Erie, Pennsylvania, d. 2013, Los Angeles.]

 A truly critical social documentary will frame the crime, the trial, and the system of justice and its official myths. Artists working toward this end may or may not produce images that are theatrical and overtly contrived, they may or may not present texts like fiction. Social truth is something other than a manner of convincing style. 

Douglas Huebler
[Photographer and artist, b. 1924, Ann Arbor, Michigan, d. 1997, Truro, Massachusetts.]

 I use the camera as a “dumb” copying device that only serves to document whatever phenomenon appears before it through the conditions set by a system. No “esthetic” choices are possible. Other people often make the photographs. It makes no difference. 

Susan Meiselas
[Photographer, b. 1948, Baltimore, Maryland, lives in New York.]

 If Instagram had been available when I was working in Nicaragua in 1978, I’m sure I would have wanted to use it as a way of reporting directly from the streets during the insurrection. 
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