Thomas Ruff
[Photographer, b. 1958, Zell, Germany, lives in Dusseldorf, Germany.]

 Photographs are still always depictions, it's just that for my generation the model for the photograph is probably not reality any more, but images we have of that reality. 

Anthony Aziz

 ... with the end of truth in photography has come a corresponding loss of trust; every image, every representation, is now a potential fraud. And as the eternal debate rages on about the appearance of truth and truth itself, simulation is the only truth we can trust. 

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

 Photography [can] be seen as a system of representation that you bring to bear on other systems. 

Thomas Demand
[Photographer, b. 1964, Munich, Germany, lives in Los Angeles.]

 I think that nowadays there are more images in the world than world to be in the pictures. 

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

 The kind of photography I did is gone. It’s old. There’s no point in it anymore for me, and I get no satisfaction from trying to do it. There are too many pictures now. It’s overwhelming. A flood of images that passes by, and says, “Why should we remember anything?” There is too much to remember now, too much to take in. 

Luigi Ghirri
[Photographer, b. 1943, Scandiano, Italy, d. 1992, Reggio Emilia, Italy.]

 Instead of accepting the challenge of complexity, photography shunted itself into a tight corner—the reproduction of itself. 

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

 In some way I would suggest that photography is not so much an art as a meta-art. It’s an art which devours other art... photography takes the whole world as its subject, cannibalizes all art forms, and converts them into images. And in that sense it seems a peculiarly modern art form. 

Luigi Ghirri
[Photographer, b. 1943, Scandiano, Italy, d. 1992, Reggio Emilia, Italy.]

 Instead of seeking to introduce new situations and ways of working, photography has moved into a phase of obsessively reproducing itself. (1985) 
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