“I was brought in, not in the photographic department at all, I was brought in on a thing called Special Skills. I was to do posters, pamphlets, murals, propaganda in general, you know.”

Personal style, be it that of Michelangelo, or that of Tintoretto… has always been that peculiar personal rapport which has developed between an artist and his medium.

Forms in art arise from the impact of idea upon material… so that thinking and belief and attitudes may endure as actual things.

An ametuer is an artist who supports himself with outside jobs which enable him to paint. A professional is someone whose wife works to enable him to paint.

When you talk about war on poverty it doesn’t mean very much; but if you can show to some degree this sort of thing then you can show a great deal more of how people are living and a very great percentage of our people today.

Every great historic change has been based on nonconformity, has been bought either with the blood or with the reputation of nonconformists.

Paint what you are, paint what you believe, paint what you feel.

To abstract is to draw out the essence of a matter. To abstract in art is to separate certain fundamentals from irrelevant material which surrounds them.

I was primarily interested in people, and people in action, so that I did nothing photographically in the sense of doing buildings for their own sake or a still life or anything like that.

It may be a point of great pride to have a Van Gogh on the living room wall, but the prospects of having Van Gogh himself in the living room would put a great many devoted art lovers to rout.

Only an individual can imagine, invent, or create. The whole audience of art is an audience of individuals.

Now, my knowledge of photography was terribly limited.

I became interested in photography when I was sharing a studio with Walker Evans, and found my own sketching was inadequate.

Nobody had ever done it before, deliberately. Now it’s called documentary, which I suppose is all right … We just took pictures that cried out to be taken.

Art almost always has its ingredient of impudence, its flouting of established authority, so that it may substitute its own authority and its own enlightenment.

It may be any one of an infinite number of concepts, none of which may have any possible bearing upon its degree of newness.

I confess that Roy [Stryker] was a little bit dictatorial in his editing and he ruined quite a number of my pictures, which he stopped doing later. He used to punch a hole through a negative. Some of them were incredibly valuable. He didn’t understand at the time.