Sally Mann
[Photographer, b. 1951, Lexington, Virginia, lives in Lexington.]

 We are spinning a story of what it is to grow up. It’s a complicated story and sometimes we try to take on the grand themes: anger, love, death, sensuality and beauty. Without fear and without shame. 

Nan Goldin
[Photographer, b. 1953, Washington, D.C., lives in New York and Paris.]

 Every time I go through something scary, traumatic, I survive by taking pictures. 

James Nachtwey
[Photographer, b. 1948, Syracuse, New York, lives in New York.]

 You are never freer than in that moment when you decide to expose yourself to sniper fire. 

Martha Rosler
[Artist, b. 1943, Brooklyn, New York, lives in New York.]

 Documentary testifies, finally, to the bravery or (dare we name it?) the manipulativeness and savvy of the photographer, who entered a situation of physical danger, social restrictedness, human decay, or combinations of these and saved us the trouble. 

James Nachtwey
[Photographer, b. 1948, Syracuse, New York, lives in New York.]

 Every minute I was there, I wanted to flee. I did not want to see this. Would I cut and run, or would I deal with the responsibility of being there with a camera? 

Philip-Lorca diCorcia
[Artist, b. 1953, Hartford, Connecticut, lives in New York.]

 The deepest motivation for a lot of artists is obviously the one they all share: their great fear they are a fraud. It’s a joke. In my case the problem is not that I don’t question myself. It’s just that I question other people even more... 

Eddie Adams
[Photojournalist, b. 1933, New Kensington, Pennsylvania, d. 2004, New York.]

 To tell the truth, I didn’t get scared too often. The adrenalin rush was so strong, I didn’t get scared until it was over. The next night, the next month. Or just last week. 

Robert Doisneau
[Photographer, b. 1912, Gentilly, Val-de-Marne, France, d. 1994, Montrouge, France.]

 ...there is the continual constraint of living everyday life to deal with. A kind of fury grows as a result because we are not really free. Then there comes a sort of slow boiling up inside so that finally we explode. Then, abruptly, there is that exasperation that at one moment translates itself into a need to be filled with wonder, a need for a kind of happiness of the eye and a need to look with intensity and with courage. 
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