Man Ray (Emanuel Radnitsky)
[Artist, b. 1890, Philadelphia, Pennsylvania, d. 1976, Paris.]

 Cut out the eye from a photograph of one who has been loved but is seen no more.
Attach the eye to the pendulum of a metronome and regulate the weight to suit the tempo desired.
Keep going to the limit of endurance.
With a hammer well-aimed, try to destroy the whole at a single blow.
(1932, describing “Object To Be Destroyed,” made using a metronome and the photographed eye of artist, lover and collaborator Lee Miller who left him.) 

James Agee
[Writer, b. 1909, Knoxville, Tennessee, d. 1955, New York.]

 Walker [Evans] setting up the terrible structure of the tripod crested by the black square heavy head, dangerous as that of a hunchback, of the camera; stooping beneath cloak and cloud of wicked cloth, and twisting buttons; a witchcraft preparing, colder than keenest ice, and incalculably cruel. (On Walker Evans photographing three tenant farmer families in Hale County, Alabama, 1936) 

Thomas Demand
[Photographer, b. 1964, Munich, Germany, lives in Los Angeles.]

 [With my photographs] you have a [single, forever fixed] moment and my particular angle of vision. My tyrannical condition, as it were, is that I prescribe your vision. 

Charles, Earl Spencer
[Secondary royalty, b. 1964, Althorp, Northamptonshire, England, lives in Althorp.]

 It would appear that every proprietor and editor of every publication that has paid for intrusive and exploitative photographs of her, encouraging greedy and ruthless individuals to risk everything in pursuit of Diana’s image, has blood on his hands today. (On the paparazzi role in the car crash death of his sister, Lady Diana) 

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

 There is an aggression implicit in every use of the camera. 

Edmundo Desnoes
[Writer, b. 1930, Havana, Cuba, lives in New York.]

 Photographs are detonators. They explode in us. We are the gaze as well as the gazed-at. The observer and the observed. 

Nastassja Kinski
[Model and actress, b. 1959, West Berlin, Germany, lives in Los Angeles and Europe.]

 When I cannot get that moment of truth where you feel yourself opening up like a flower, I absolutely loathe the bloody camera. I can just feel this black hole eyeing me, sucking me in, and I feel like smashing it to smithereens. 

William J. T. Mitchell
[Writer, theorist, and architect, b. 1944, Melbourne, Australia, lives in Cambridge, Massachusetts.]

 Pictures of pain are not necessarily painful pictures, and this is why our response to them fluctuates between shame and delight, horror and pleasure. 
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