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

 Among photojournalists there is still a sense that doing a photomontage is far graver than adding a filter. I am against this type of hierarchy that demonizes some options over others, demonizes them in respect to, what—ideology or moral code? 

Herbert Bayer
[Artist, graphic designer, theoretician, b. 1900, Haag, Austria, d. 1985, Montecito, California.]

 We live in a time of the greatest precision and of maximum contrasts: photomontage offers us a means to express this. It shows ideas: photography shows us objects. 

Berenice Abbott
[Photographer, writer, teacher, b. 1898, Springfield, Ohio, d. 1991, Monson, Maine.]

 Suppose we took a thousand negatives and made a gigantic montage; a myriad-faceted picture combining the elegances, the squalor, the curiosities, the monuments, the sad faces, the triumphant faces, the power, the irony, the strength, the decay, the past, the present, the future of a city—that would be my favorite picture. 

Wolfgang Tillmans
[Photographer, b. 1968, Remscheid, Germany, lives in London.]

 I am interested not in individual readings, but in constructing networks of images and meanings capable of reflecting the complexity of the subject. 

Dziga Vertov
[Artist and filmmaker, b. 1896, Bialystok, d. 1954, Moscow.]

 I take from one person the strongest and deftest hands, from another I take the strongest and swiftest legs, from a third the most beautiful and expressive head and I create a new, perfect man in montage. 

Sergei Tretyakov
[Writer, critic, and artist, b. 1892, Guldiga, Russia (now Kuldigas, Latvia), d. 1939, Moscow.]

 If a more or less random snapshot is like an infinitely fine scale that has been scratched from the surface of reality with the tip of a finger, then in comparison the photoseries or photomontage lets us experience the extended massiveness of reality, its authentic meaning. We build systematically. We must also photograph systematically. Sequence and long-term photographic observation—that is the method. 

George Grosz
[Artist, b. 1893, Berlin, d. 1959, Berlin.]

 In 1916, when Johnny Heartfield and I invented photomontage in my studio at the south end of the town at five o’clock one May morning, we had no idea of the immense possibilities, or of the thorny but successful career, that awaited the new invention. On a piece of cardboard we pasted a mishmash of advertisements for hernia belts, student song books and dog food, labels from schnaps and wine bottles, and photographs from picture papers, cut up at will in such a way as to say, in pictures, what would have been banned by the censors if we had said it in words. 

Idris Khan
[Artist, b. 1978, Birmingham, England, lives in London.]

 I try and grasp the essence of a particular work, fuck about with it on the computer, and then display all the essence of a complete work on the wall. 
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