Shimon Attie
[Photographer, b. 1957, Los Angeles, lives in New York.]

 I think of my work as a kind of peeling back of the wallpaper of today to reveal the histories buried underneath. 

Adam Gopnik
[Writer and critic, b. 1956, Philadelphia, lives in New York.]

 Is the selfie—those newly omnipresent photos of ourselves, taken with our own little palm-fitting cameras—merely a genre of informal self-portraiture, as old as the camera and as many-sided, or is it visual crabgrass, covering over and crowding out deeper investigation of who we are? 

Peter Bunnell
[Writer and photo historian, b. 1937, Poughkeepsie, New York, lives in Princeton, New Jersey.]

 …in a photograph the most specific details are the source of the most general conclusions. 

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. 

Edward Weston
[Photographer, b. 1886, Highland Park, Illinois, d. 1958, Wildcat Hill, California.]

 To see the Thing itself is essential: the quintessence revealed direct without the fog of impressionism... This then: to photograph a rock, have it look like a rock, but be more than a rock. Significant presentation—not interpretation. 

Michelangelo Antonioni
[Filmmaker, b. 1912, Ferrara, Italy, d. 2007, Rome.]

 We know that under the revealed image there is another one which is more faithful to reality, and under this one is yet another, and again another under this last one, down to the true image of that absolute, mysterious reality that nobody will ever see. Or perhaps, not until the decomposition of every image, of every reality. 

Saul Leiter
[Photographer, b. 1923, Pittsburgh, Pennsylvania, d. 2013, New York.]

 I go out to take a walk, I see something, I take a picture. I take photographs. I have avoided profound explanations of what I do. 

Rosalind Krauss
[Writer, critic, and historian, b. 1941, Washington, D.C., lives in New York.]

 Everything that one photographs is in fact “flattened to fit” paper, and thus under, within, permeating, every paper support, there is a body. 
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