Christian Boltanski
[Artist, b. 1944, Paris, lives in Paris.]

 ... in the eyes of its visitors, Venice has no reality of its own. Anyone visiting the place has already seen so many pictures of it that they can only attempt to view it via these clichés, and they take home photographs of Venice that are similar to the ones they already knew. Venice [is] becoming like one of those painted backdrops that photographers use in their studio. 

Gilles Peress
[Photographer, b. 1946, Neuilly, France, lives in New York.]

 There’s a big choice to be made right now. Either you fall on the postmodernist incapacity for dealing with the world, which is that there is no accurate description of the world so there is no point in going out to look at the world. And if you’re not going to look at the world then certainly you’re not going to change it. 

Douglas Crimp
[Writer, theorist and critic, b. 1944, Coeur d'Alene, Idaho, lives in Rochester, New York.]

 Through reproductive technology, postmodernist art dispenses with the aura. The fiction of the creating subject gives way to a frank confiscation, quotation, excerptation, accumulation, and repetition of already existing images. Notions of originality, authenticity, and presence... are undermined. 

Roland Barthes
[Writer, critic, and theorist, b. 1915, Cherbourg, d. 1980, Paris.]

 In an initial period, photography, in order to surprise, photographs the notable; but soon, by a familiar reversal, it decrees notable whatever it photographs. 

Geoffrey Batchen
[Photohistorian, b. 1956, Australia, lives in Wellington, New Zealand.]

 Most importantly, postmodernism comes down on the side of photography and power, not photography as power. As a consequence, photography continues to be conceived as an inconsequential vehicle or passage for “real” powers that always originate elsewhere. 

Gerhard Richter
[Artist, b. 1932, Dresden, lives in Düsseldorf.]

 To make a photograph is already the first artificial act. 

Thomas Ruff
[Photographer, b. 1958, Zell, Germany, lives in Dusseldorf, Germany.]

 Photographs are still always depictions, it's just that for my generation the model for the photograph is probably not reality any more, but images we have of that reality. 

Paul Virilio
[Writer and theorist, b. 1932, Paris, lives in La Rochelle, France.]

 Images contaminate us like viruses. 
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