Nobuyoshi Araki
[Photographer, b. 1940, Tokyo, lives in Tokyo.]

 Don’t you think that it is necessary to have a sense of brutality in photography? 

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

 Images, the visual power of present-day capitalism, like the ritual constructions of ancient Egypt, are refined ways of inhibiting and crushing man. 

William Klein
[Photographer, b. 1928, New York, lives in Paris.]

 I thought New York had it coming, that it needed a kick in the balls. When I returned to New York, I wanted to get even. Now I had a weapon, photography. 

Duane Michals
[Photographer, b. 1932, McKeesport, Pennsylvania, lives in New York.]

 Get Weston off your back, forget Arbus, Frank, Adams, White, don’t look at photographs. Kill the Buddha. 

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.) 

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) 

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. 

Robert Smithson
[Artist, b. 1938, Rutherford, New Jersey, d. 1973, Amarillo, Texas.]

 A camera is wild in just about anybody’s hands, therefore one must set limits. But cameras have a life of their own. Cameras care nothing about cults or isms. They are indifferent mechanical eyes, ready to devour anything in sight. They are lenses of the unlimited reproduction. 
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