Stephen Shore
[Photographer, b. 1947, New York, lives in New York.]

 I meet young artists and it becomes clear that with some the main motivation is getting a show in Chelsea. It strikes me that this is very different to the way it was for me, which was that I wanted to understand photography and the world and myself. 

Diane Arbus
[Photographer, b. 1923, New York, d. 1971, New York.]

 I saw a man lying on the steps of a church on Lex Ave under a sign saying Open for Meditation and Prayer with his fly open and his penis out. I couldn’t ask him to sign a release. Could you? (To her magazine editor) 

Allan Sekula
[Photographer, writer, and theorist, b. 1951, Erie, Pennsylvania, d. 2013, Los Angeles.]

 As a privileged commodity fetish, as an object of connoisseurship, the photograph achieves its ultimate semantic poverty. But this poverty has haunted photographic practice from the very beginning. 

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. 

Robert Morris
[Artist and theorist, b. 1931, Kansas City, Missouri, lives in New York.]

 There is probably no defense against the malevolent powers of the photograph to convert every visible aspect of the world into a static, consumable image. 

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

 Needing to have reality confirmed and experience enhanced by photographs is an aesthetic consumerism to which everyone is now addicted. Industrial societies turn their citizens into image-junkies; it is the most irresistible form of mental pollution. 

Lord Snowdon (Antony Charles Robert Armstrong-Jones)
[Earl and photographer, b. 1930, London, England, d. 2017, London.]

 I’m very much against photographs being framed and treated with reverence and signed and sold as works of art. They aren’t. They should be seen in a magazine or a book and then be used to wrap up the fish and chucked away. 

Philip Jones Griffiths
[Photojournalist, b. 1936, Rhuddian, Wales, d. 2008, London.]

 When Bill Gates started Corbis we were told that he needed images to fill those “digital picture frames” in his home, and many found this plausible. But now it’s pretty clear that he’s set out to control the visual history of the twentieth century. 
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