Norman Mailer
[Writer, b. 1923, Long Branch, New Jersey, d. 2007, New York.]

 Giving a camera to Diane Arbus is like putting a live grenade in the hands of a child. 

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.) 

Robert Frank
[Photographer and filmmaker, b. 1924, Zürich, Switzerland, lives in Mabou, Cape Breton, Nova Scotia, Canada, and New York.]

 I hate to be photographed. I can’t stand to be pinned in front of a camera. I do that to people. I don’t like it done to me. 

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) 

Lucy Lippard
[Critic and writer, b. 1936, New York, lives in Galisteo, New Mexico.]

 Men have dominated the field of landscape photography just as they have dominated the land itself. Thus “shooting” a “virgin” landscape has been man’s work—hunting, not gardening. 

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

 Women war photographers had to fight on two fronts: the bombs, and the men. 

Irving Penn
[Photographer, b. 1917, Plainfield, New Jersey, d. 2009, New York.]

 I myself have always stood in the awe of the camera. I recognize it for the instrument it is, part Stradivarius, part scalpel. 

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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