Bea Nettles
[Photographer, b. 1946, Gainesville, Florida, lives in Asheville, North Carolina.]
I feel that rather than “taking” photographs, I am making them. I freely use any materials to make my images... thread, dust, cloth, plastic, pencil, mirrors, as well as my photographic paper and film. I’m trying to stretch and share the limits of my imagination: that is why and how I continue to work.
Jean-Luc Godard
[Filmmaker, b. 1930, Paris, lives in Rolle, Switzerland.]
There are no more simple images... The world is too much for an image. You need several of them, a chain of images...
David Hockney
[Artist, b. 1937, Bradford, England, lives in Bridlington, Yorkshire; London; and Los Angeles.]
Ordinary photography, it seems to me, is obsessed with subject matter, whereas [my collages] are not principally about their subjects. Or rather, they aren’t so much about things as they are about
the way things catch your eye.
Raoul Hausmann
[Artist, b. 1886, Vienna, d. 1971, Limoges, France.]
We called [the] process “photomontage,” because it embodied our refusal to play the part of the artist. We regarded ourselves as engineers, and our work as construction: we
assembled our work, like a fitter.
Lewis Mumford
[Writer and critic, b. 1895, Flushing, New York, d. 1990, New York.]
As for the various kinds of
montage photography, they are in reality not photography at all but a kind of painting in which photography is used—as pastiches of textiles are used in crazy-quilts—to form a mosaic. Whatever value the montage may have derives from painting rather than the camera.
Aleksander Rodchenko
[Artist, designer, architect, b. 1891, St. Petersburg, d. 1956, Moscow.]
Don’t try to capture a man in one synthetic portrait, but rather in lots of snapshots taken at different times and in different circumstances!
Dorothea Lange
[Photographer, b. 1895, Hoboken, New Jersey, d. 1965, San Francisco.]
I find it has become instinctive, habitual, necessary to group photographs. I used to think in terms of single photographs, the bulls-eye technique. No more.
William Burroughs
[Writer, b. 1914, St. Louis, Missouri, d. 1997, Lawrence, Kansas.]
The cut-up method brings to writers the collage, which has been used by painters for fifty years. And used by the moving and still camera. In fact, all street shots from movie or still cameras are by the unpredictable factors of passersby and juxtapositions cut-ups. And photographers will tell you that often their best shots are accidents.
(1978)
