Walter Benn Michaels
[Writer and critic, b. 1948, lives in Chicago.]

 What a [Cindy Sherman] photograph shows is an object that has been called into the world by the existence of cameras; the pose, as pose, calls attention to this fact and criticizes the world the camera has made; the camera, then, records this critique. 

Douglas Crimp
[Writer, theorist and critic, b. 1944, Coeur d'Alene, Idaho, lives in Rochester, New York.]

 The strategy of the [directorial] mode is to use the apparent veracity of photography against itself, creating one’s fictions through the appearance of a seamless reality into which has been woven a narrative dimension. (1980) 

Barbara Kasten
[Photographer, b. 1936, Chicago, Illinois, lives in Chicago.]

 When I make a photograph, it’s not in the traditional style of using a camera to capture reality or to catch a fleeting moment of life. I use the camera to document a moment, but everything that it records is something that I’ve made with my hands. 

Roni Horn
[Artist, b. 1955, New York, lives in New York and Iceland.]

 A non-analogue image has an extremely compressed life. It starts as this and, in increasingly short time spans, becomes that. 

Nan Goldin
[Photographer, b. 1953, Washington, D.C., lives in New York and Paris.]

 When you set up pictures you’re not at any risk. Reality involves chance and risk and diving for pearls. 

Pedro Meyer
[Photographer, b. 1935, Madrid, Spain, lives in Mexico City.]

 The notion of the real and the fake has come full circle. We now tend to dismiss the real because it looks like a fake. The “truth” is that in their own way, when all is said and done, all fakes and surrogates also become their own sort of original. 

Alec Soth
[Photographer, b. 1969, Minneapolis, Minnesota, lives in Saint Paul, Minnesota.]

 Photography is a frustrating medium. Fragmentary, frozen and mute—photographs can never match the immersive pleasures of film or music. So why bother with film sets and lighting crews? The simple process of making pictures is rich enough. 

Tod Papageorge
[Photographer, b. 1940, Portsmouth, New Hampshire, lives in New Haven, Connecticut.]

 ...my argument against the set-up picture is that it leaves the matter of content to the imagination of the photographer, a faculty that, in my experience, is generally deficient compared to the mad swirling possibilities that our dear common world kicks up at us on a regular basis. 
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