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. 

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. 

Joel Meyerowitz
[Photographer, b. 1938, New York, lives in New York.]

 “Tough” meant it was an uncompromising image, something that came from your gut, out of instinct, raw, of the moment, something that couldn’t be described in any other way. So it was tough. Tough to like, tough to see, tough to make, tough to understand. The tougher they were the more beautiful they became. 

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

 ...you don’t put an object in a museum because it’s beautiful; an object is beautiful because you put it in a museum. Everything is photogenic once it has been photographed. 

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

 I can’t let myself ever make pictures that are beautiful unless there’s some price that’s been paid. 

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

 The beautiful image today means nothing. It’s worth shit. In fact, it’s almost as if it has the opposite effect, because you’re just like everything else out there. 

Ernst Haas
[Photographer, b. 1921, Vienna, Austria, d. 1986, New York City.]

 A picture is the expression of an impression. If the beautiful were not in us, how would we ever recognize it? 

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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