Richard Misrach
[Photographer, b. 1949, Los Angeles, lives in San Francisco.]

 Probably the strongest criticism leveled at my work is that I’m making “poetry of the holocaust.” But I’ve come to believe that beauty can be a very powerful conveyor of difficult ideas. It engages people when they might otherwise look away. 

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

 I have found tangible evidence that within this life’s sweet tedium reside certain truths: that nothing attains maximum beauty until touched with decay, that the vulgar and miraculous can be one. 

Wim Wenders
[Artist and filmmaker, b. 1945, Düsseldorf, lives in Berlin.]

 An image that is unseen can’t sell anything. It is pure, therefore true, beautiful, in one word: innocent. As long as no eye contaminates it, it is in perfect unison with the world. If it is not seen, the image and the object it represents belong together. 

Jeff Wall
[Photographer, b. 1946, Vancouver, Canada, lives in Vancouver.]

 The spontaneous is the most beautiful thing that can appear in a picture, but nothing in art appears less spontaneously than that. 

Ingrid Sischy
[Editor and writer, b. 1952, Johannesburg, South Africa, d. 2015, New York.]

 Beautification of tragedy results in pictures that ultimately reinforce our passivity toward the experience they reveal. 

Susan Sontag
[Writer, theorist, and critic, b. 1933, New York, d. 2004, New York.]

 ...the most enduring triumph of photography has been its aptitude for discovering beauty in the humble, the inane, the decrepit. At the very least, the real has a pathos. And that pathos is—beauty. 

Luc Delahaye
[Photographer, b. 1962, Tours, France, lives in Paris.]

 There is something beautiful about photography; it allows the self to be reunited with the world. 

Walker Evans
[Photographer, b. 1903, St. Louis, Missouri, d. 1975, New Haven, Connecticut.]

 A garbage can, occasionally, to me at least, can be beautiful. That’s because you’re seeing. Some people are able to see that—see it and feel it. I lean toward the enchantment, the visual power, of the esthetically rejected subject. 
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