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

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

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.

We struggle against easel painting not because it is an aesthetic form of painting, but because it is not modern, for it does not succeed in bringing out the technical side, it is a redundant, exclusive art, and cannot be of any use to the masses. Hence we are struggling not against painting but against photography carried out as if it were an etching, a drawing, a picture in sepia or watercolor.

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.

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.

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.