Ellsworth Kelly
[Artist, b. 1923, Newburgh, New York, d. 2015, Spencertown, New York.]

 I realized I didn’t want to compose pictures, I wanted to find them. 

John Baldessari
[Artist, b. 1931, National City, California, lives in Venice, California.]

 Probably I was never going to get out of National City, so I was going to show people what it’s like, to make art out of where I lived without glamorizing it, and with the idea that truth is beautiful, no matter how ugly it is. I drove around in the car shooting my pictures from the window, because I didn’t want to make the place more beautiful by setting my camera up with a tripod, getting the right light, and just the right composition. I wanted it just the way it is. 

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

 A photograph has edges, the world does not. 

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

 The photograph as an objective representation of reality simply does not exist. The photograph does not explain to you what is going on to the left or to the right or above or below the frame. Oftentimes, it doesn’t even explain to you what is going on inside the frame. 

Dennis Oppenheim
[Artist, b. 1938, Electric City, Washington, d. 2011, New York.]

 The photograph gives constant reference to the rectangle. This forces any idea into the confines of pictorial illusionism. 

Walker Evans
[Photographer, b. 1903, St. Louis, Missouri, d. 1975, New Haven, Connecticut.]

 I find a howling error in composition, because something is in the wrong place, and I leave it there. God arranged that; I wouldn’t touch it. 

George Rodger
[Photojournalist, b. 1908, Hale, Cheshire, England, d. 1995, Smarden, Kent, England.]

 When I discovered that I could look at the horror of Belsen—4,000 dead and starving lying around—and think only of a nice photographic composition, I knew something had happened to me and it had to stop. 

Robert Rauschenberg
[Artist, b. 1925, Port Arthur, Texas, d. 2008, Captiva Island, Florida.]

 You wait until life is in the frame, then you have the permission to click. I like the adventure of waiting until the whole frame is full. 
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