Saul Steinberg
[Artist, b. 1914, Râmnicu Sarat, Romania, d. 1999, New York.]

 It seems that photography has just been calisthenics, an illusion, an alibi for the real thing. 

David Maisel
[Photographer, b. 1961, New York, lives in San Francisco.]

 …pictures aren’t facts. There’s nothing factual about them. They’re mental space. That’s what abstraction is about, making a kind of psychological space. 

Lewis Baltz
[Photographer, b. 1945, Newport Beach, California, d. 2014, Paris.]

 …the questioning of the photograph in its relation to the reality, the interrogation of representation, the famous crisis of representation, really all took place before digital technology. Digital technology, you see, is not the villain here. (1998) 

Roger Ballen
[Photographer, b. 1950, New York, lives in Johannesburg, South Africa.]

 It is my belief that the most challenging photographs are those that create a tension between what we refer to as the real and the imaginative. 

José Saramago
[Writer, b. 1922, Azinhaga, Portugal, d. 2010, Tias, Las Palmas, Spain.]

 We are finally living in Plato’s cave, if we consider how those who were imprisoned within the cave—who could do nothing but watch those shadows passing on the back wall—were convinced that those shadows were their one and only reality. I see a profound similarity to all this in the epoch we’re now living in. We no longer live simply through images: we live through images that don’t even exist, which are the result not of physical projection but of pure virtuality. 

Robert Rauschenberg
[Artist, b. 1925, Port Arthur, Texas, d. 2008, Captiva Island, Florida.]

 I don’t want a picture to look like something it isn’t. I want it to look like something it is. 

Errol Morris
[Documentary filmmaker, b. 1948, Hewlett, New York, lives in Cambridge, Massachusetts.]

 Photographs attract false beliefs the way flypaper attracts flies. 

Chuck Close
[Artist, b. 1940, Monroe, Washington, lives in New York.]

 When I went to pick [artist Joe Zucker] up to photograph him, I didn’t recognize him. He has curly, blonde, bushy hair—but he had bought a jar of Vaseline, greased his hair down, borrowed someone’s white shirt and tie, someone else’s glasses, and he looked like a used car salesman. He understood that all he had to do was provide me with the evidence that someone like that existed for a 100th of a second. It didn’t necessarily have to be him. 
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