Richard Prince
[Artist, b. 1949, Panama Canal Zone, lives in New York.]

 Is passion what we are? Is that what we are in pictures? Is what we are in pictures almost real? Maybe it’s become the “most” real thing. 

Barbara Kruger
[Artist, b. 1945, Newark, New Jersey, lives in New York.]

 Images are made palpable, ironed flat by technology and, in turn, dictate the seemingly real through the representative. 

Wolfgang Tillmans
[Photographer, b. 1968, Remscheid, Germany, lives in London.]

 I am interested not in individual readings, but in constructing networks of images and meanings capable of reflecting the complexity of the subject. 

Richard Avedon
[Photographer, b. 1923, New York, d. 2004, San Antonio, Texas.]

 Because portraiture is performance, and like any performance, in the balance of its effects it is good or bad, not natural or unnatural. I can understand being troubled by this idea—that all portraits are performances—because it seems to imply some kind of artifice that conceals the truth about the sitter. 

Jo Spence
[Artist, photographer, and writer, b. 1934, London, d. 1992, London.]

 The one bright spot in this depression was the arrival of the pictures I had taken of my hospital experience... I was absolutely staggered at what I’d photographed. I couldn’t believe that I had seen so much and already forgotten it. I had already disavowed what had happened to me. But here were the photographs that my guardian self had taken—so much detail. This points up one of the advantages of photographing one’s traumas—before they become sealed over. 

Rosalind Krauss
[Writer, critic, and historian, b. 1941, Washington, D.C., lives in New York.]

 If we are to generalize the aesthetic of surrealism, the concept of Convulsive Beauty is at the core of that aesthetic: reducing to an experience of reality transformed into a representation. Surreality is, we could say, nature convulsed into a kind of writing. The special access that photography has to this experience is its privileged connection to the real. 

Lawrence Alloway
[Writer, curator, and critic, b. 1927, London, d. 1990, New York.]

 If “a print is the widow of the stone,” to quote Robert Rauschenberg, then a photograph is the twin of an event. 

David Douglas Duncan
[Photojournalist, b. 1916, Kansas City, Missouri, lives in Mougins, France.]

 My objective always is to stay as close as possible and shoot the pictures as if through the eyes of the infantryman, the Marine, or the pilot. I wanted to give the reader something of the visual perspective and feeling of the guy under fire, his apprehensions and sufferings, his tensions and releases, his behavior in the presence of threatening death. 
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