Photography - the new, rapid, concrete reflector of the world - should surely undertake to show the world from all vantage points, and to develop people's capacity to see from all sides. (1928)

Art has no place in modern life. It will continue to exist as long as there is a mania for the romantic and so long as there are people who love beautiful lies and deception... Every modern cultured man must wage war against art, as against opium... Photograph and be photographed.

We must revolutionize our optical perception. We must remove the veil from our eyes.

In order to educate man to a new longing, everyday familiar objects must be shown to him with totally unexpected perspectives and in unexpected situations. New objects should be depicted from different sides in order to provide a complete impression of the object.

The viewer who sees only a study in the picture of the glass jug illuminated from behind fails to appreciate the masterly composition, the noble purity of the lines, the rich plasticity of the form and consequently also the poetry and beauty of the picture, and still more important, its specifically photographic qualities.

One has to take several different shots of a subject, from different points of view and in different situations, as if one examined it in the round rather than looked through the same key-hole again and again.

Photography has all the rights, and all the merits, necessary for us to turn towards it as the art of our time.

Only the camera seems to be really capable of describing modern life.

Landscapes, heads and naked women are called artistic photography, while photographs of current events are called press photography.

Photography has every right and every merit to claim our attention as the art of our age.

I want to take some quite incredible photographs that have never been taken before... pictures which are simple and complex at the same time, which will amaze and overwhelm people ... I must achieve this so that photography can begin to be considered a form of art.

I reduced painting to its logical conclusion and exhibited three canvases: red, blue, and yellow. I affirmed: this is the end of painting.

Damn it, nobody knows what is beautiful and what is not. They do not understand new things.

Don’t try to capture a man in one synthetic portrait, but rather in lots of snapshots taken at different times and in different circumstances.