Photographers from the United States

"Andy Warhol: I think everybody should like everybody. Gene Swenson: Is that what Pop Art is all about? Andy Warhol: Yes, it's liking things."

"The reason I'm painting this way is that I want to be a machine, and I feel that whatever I do and do machine-like is what I want to do."

"The farther West we drove [to California, Fall of 1963, with Gerard Malanga, Wynn Chamberlain, and Taylor Mead for an opening of Warhol's 'Liz & Elvis paintings' at the Ferus Gallery in Los Angeles], the more Pop everything looked on the highways. Suddenly we all felt like insiders because even though Pop was everywhere – that was the thing about it, most people still took it for granted, whereas we were dazzled by it – to us, it was the new Art. Once you 'got' Pop, you could never see a sign the same way again. And once you thought Pop, you could never see America the same way again. The moment you label something, you take a step – I mean, you can never go back again to seeing it unlabeled. We were seeing the future and we knew it for sure.. ..the mystery was gone, but the amazement was just starting. [quote in 1963]"

"I think of myself as an American artist: I like it here.. .I feel I represent the U.S. in my art but I'm not a social critic. I just paint those things in my paintings because those things are the things I know best. I'm not trying to criticize the U.S. in any way, not trying to show up any ugliness at all. I'm just a pure artist, I guess. But I can't say if I take myself seriously as an artist. I just hadn't thought about it. I don't know how they consider me in print, though."

"If you want to know all about Andy Warhol, just look at the surface; of my paintings and films and me, and there I am. There's nothing behind it."

"In the future everyone will be world-famous for 15 minutes."

":: In the future, everybody will be world famous for 15 minutes."

":: In the future everyone will have their fifteen minutes of fame"

":: In the future, fifteen people will be famous."

":: In fifteen minutes, everyone will be famous."

"Pelé is one of the few who contradicted my theory [...] Instead of 15 minutes of fame, he will have 15 centuries."

"Scripts bore me. It's much more exciting not to know what's going to happen. I don't think that plot is important. If you see a movie of two people talking, you can watch it over and over again without being bored. You get involved – you miss things – you come back to it ... But you can't see the same movie over again if it has a plot because you already know the ending ... Everyone is rich. Everyone is interesting. Years ago, people used to sit looking out of their windows at the street. Or on a park bench. They would stay for hours without being bored although nothing much was going on. This is my favorite theme in movie making – just watching something happening for two hours or so ... I still think it's nice to care about people. And Hollywood movies are uncaring. We're pop people. We took a tour of Universal Studios in Los Angeles and, inside and outside the place, it was very difficult to tell what was real. They're not-real people trying to say something. And we're real people not trying to say anything. I just like everybody and I believe in everything."

"It's hard to be creative and it's also hard not to think what you do is creative or hard not to be called creative because everybody is always talking about that and individuality. Everybody's always creative. And it is so funny when you say things aren't, like the shoe I would draw for an advertisement was called a 'creation', but the drawing of it was not.. .There are millions of actors. They're all pretty good. And how many painters are there? Millions of painters and all pretty good. How can you say one style is better then another. You ought to be able to be an Abstract-expressionist next week, or a Pop artist, or a realist, without feeling you're given up something."

"If an artist can't do anymore, then he should just quit; and an artist ought to be able to change his style without feeling bad. I heard that Lichtenstein said he might not be painting comic strips a year of two from now [1963]. I think that would be so great, to be able to change styles. And I think that's what's going to happen; that's going to be the whole new scene."

"We went to see Dr No [first James Bond film, 1962] at Fort-Second Street. It's a fantastic movie, so cool. We walked outside and somebody threw a cherry bomb right in front of us, in this big crowd. And there was blood. I saw blood on people and all over. I felt like I was bleeding all over. I saw in the paper last week that there are more people throwing them - it's just part of the scene - and hurting people. My show in Paris is to be called Death in America. I'll show the Electric-chair pictures and the Dogs in Birmingham and car wrecks and some suicide pictures."

"I guess it was the big plane crash picture [why Warhol started his 'Death'-series], the front page of a newspaper: '129 DIED'. I was also painting the Marilyns [the Marylin Monroe portraits, Warhol started after her tragic death in 1962] I realized that everything I was doing must have been Death. It was Christmas or Labor Day - a holiday - and every time that you turned on the radio they said something like '4 millions are going to die'. That started it. But when you see a gruesome picture over and over again, it doesn't really have any effect."

"I started those [the 'Elisabeth Taylor' pictures, Warhol made from a publicity photo of her 1960 film BUtterfield 8 a long time ago when she was so sick and everybody said she was going to die [but she recovered]. Now I'm doing them all over, putting bright colors on her lips and eyes. My next series will be pornographic pictures, they will look blank; when you turn on the black lights, then you will see them - big breast and ... If a cop came in, then you could just flick out the lights or turn to the regular lights. How could you say that was pornography? ...Segal did a sculpture of two people making love, but he cut it all up, I guess because he thought it was too pornographic to be art ... The thing I like about it is that it makes you forget about style and that sort of things; style isn't really important."

"The name [Pop] sounds so awful. Dada must have something to do with Pop. it's so funny, the names are really synonyms. Does anyone know what they're supposed to mean or have to do with, those names? Johns and Rauschenberg, Neo-Dada for all those years, and everyone calling them derivative and unable to transform the things they use, are now called progenitors of Pop. It's funny the way things change. I think John Cage has been very influential, and Merce Cunningham too, I think.. ..History books are being rewritten all the time."

"You'd be surprised how many people want to hang an electric chair on their living-room wall. Specially if the background color matches the drapes."

"(You'd be surprised who'll hang an electric chair in the living room. Especially if the background matches the drapes.)"

"(You wouldn't believe how many people will hang up a picture of an electric chair? especially if it matches the color of their curtains.)"

"(You wouldn't believe how many people will hang a picture of an electric chair in their room – especially if the color of the picture matches the curtains.)"

"(You wouldn't believe the number of people who hang the electric chair painting in the homes, especially if the colour of the canvas matches the curtains.)"

"If you want to know all about Andy Warhol, just look at the surface; of my paintings and films and me, and there I am. There's nothing behind it.. .I see everything that way, the surface of things, a kind of mental Braille. I just pass my hands over the surface of things. [1973]"

"Why do people think artists are special? It's just another job."

"I can never get over when you're on the beach how beautiful the sand looks and the water washes it away and straightens it up and the trees and the grass all look great. I think having land and not ruining it is the most beautiful art that anybody could ever want to own."

"It's the place where my prediction from the sixties finally came true: "In the future everyone will be famous for fifteen minutes." I'm bored with that line. I never use it anymore. My new line is, "In fifteen minutes everybody will be famous.""

"At the times in my life when I was feeling the most gregarious and looking for bosom friendships, I couldn't find any takers so that exactly when I was alone was when I felt the most like not being alone. The moment I decided I'd rather be alone and not have anyone telling me their problems, everybody I'd never even seen before in my life started running after me to tell me things I'd just decided I didn't think it was a good idea to hear about. As soon as I became a loner in my own mind, that's when I got what you might call a "following." As soon as you stop wanting something you get it. I've found that to be absolutely axiomatic."

"During the 60's, I think, people forgot what emotions were supposed to be. And I don't think they've ever remembered. I think that once you see emotions from a certain angle you can never think of them as real again. That's what more or less has happened to me. I don't really know if I was ever capable of love, but after the '60's I never thought in terms of "love" again."

"I don't see anything wrong with being alone, it feels great to me. People make a big thing about personal love. It doesn't have to be such a big thing. The same for living - people make a big thing about that too. But personal living and personal loving are the two things the Eastern-type wise men don't think about."

"I love every "lib" movement there is, because after the "lib" the things that were always a mystique become understandable and boring, and then nobody has to feel left out if they're not part of what is happening. For instance, single people looking for husbands and wives used to feel left out because the image marriage had in the old days was so wonderful. w:Jane Wyatt and Robert Young. w:Nick and Nora Charles, Ethel and Fred Mertz, Dagwood and Blondie."

"What I was actually trying to do in my early movies was show how people can meet other people and what they can do and what they can say to each other. That was the whole idea: two people getting acquainted. And then when you saw it and you saw the sheer simplicity of it, you learned what it was all about. Those movies showed you how some people act and react with other people. They were like actual sociological 'For instance's. They were like documentaries, and if you thought it could apply to you, it was an example, and if it didn't apply to you, at least it was a documentary, it could apply to somebody you knew and it could clear up some questions you had about them."

"I've never met a person I couldn't call a beauty."

"I really don't care that much about "Beauties." What I really like are Talkers. To me, good talkers are beautiful because good talk is what I love. The word itself shows why I like Talkers better than Beauties, why I tape more than I film. It's not "talkies." Talkers are doing something. Beauties are being something. Which isn't necessarily bad, it's just that I don't know what it is they're being. It's more fun to be with people who are doing things."

"When you're interested in somebody, and you think they might be interested in you, you should point out all your beauty problems and defects right away, rather than take a chance they won't notice them.. .On the other hand, say you have a purely temporary beauty problem—a new pimple, lackluster hair, no-sleep eyes, five extra pounds around the middle. Still, whatever it is, you should point it out.. .If you don't point out these things they might think that your temporary beauty problem is a permanent beauty problem.. .If they really do like you for yourself, they'll be willing to use their imagination to think of what you must look like without your temporary beauty problem."

"In some circles where very heavy people think they have very heavy brains, words like "charming" and "clever" and "pretty" are all put-downs; all the lighter things in life, which are the most important things, are put down."

"I know a girl who just looks at her face in the medicine cabinet mirror and never looks below her shoulders, and she's four or five hundred pounds but she doesn't see all that, she just sees a beautiful face and therefore she thinks she's a beauty. And therefore, I think she's a beauty, too, because I usually accept people on the basis of their self-images, because their self-images have more to do with the way they think than their objective-images do."

"The most beautiful thing in Tokyo is McDonald's. The most beautiful thing in Stockholm is McDonald's. The most beautiful thing in Florence is McDonald's. Peking and Moscow don't have anything beautiful yet."

"I'm confused about who the news belongs to. I always have it in my head that if your name's in the news, then the news should be paying you. Because it's your news and they're taking it and selling it as their product. But then they always say that they're helping you, and that's true too, but still, if people didn't give the news their news, and if everybody kept their news to themselves, the news wouldn't have any news. So I guess you should pay each other. But I haven't figured it out fully yet."

"Before I was shot [June, 1968], I always thought that I was more half-there than all-there - I always suspected that I was watching TV instead of living life. People sometimes say that the way things happen in the movies is unreal, but actually it's the way things happen to you in life that's unreal. The movies make emotions look so strong and real, whereas when things really do happen to you, it's like watching television - you don't feel anything. Right when I was being shot and ever since, I knew that I was watching television. The channels switch, but it's all television."

"I suppose I have a really loose interpretation of "work" because I think that just being alive is so much work at something you don't always want to do. Being born is like being kidnapped. And then sold into slavery. People are working every minute. The machinery is always going. Even when you sleep."

"After being alive, the next hardest work is having sex. Of course, for some people it isn't work because they need the exercise and they've got the energy for the sex and the sex gives them even more energy. Some people get energy from sex and some people lose energy from sex. I have found that it's too much work. But if you have the time for it, and if you need that exercise—then you should do it. But you could really save yourself a lot of trouble either way by first figuring out whether you're an energy-getter or an energy-loser. As I said, I'm an energy-loser. But I can understand it when I see people running around trying to get some."

"I thought that young people had more problems than old people, and I hoped I could last until I was older so I wouldn't have all those problems. Then I looked around and saw that everybody who looked young had young problems and that everybody who looked old had old problems. The "old" problems to me looked easier to take than the "young" problems. So I decided to go gray so nobody would know now old I was and I would look younger to them than how old they thought I was. I would gain a lot by going gray: (1) I would have old problems, which were easier to take than young problems, (2) everyone would be impressed by how young I looked, and (3) I would be relieved of the responsibility of acting young—I could occasionally lapse into eccentricity or senility and no one would think anything of it because of my gray hair. When you've got gray hair, every move you make seems "young" and "spry," instead of just being normally active. It's like you're getting a new talent. So I dyed my hair gray when I was about twenty-three or twenty-four."

"The President has so much good publicity potential that hasn't been exploited. He should just sit down one day and make a list of all the things that people are embarrassed to do that they shouldn't be embarrassed to do, and then do them all on television."

"What's great about this country is that America started the tradition where the richest consumers buy essentially the same things as the poorest. You can be watching TV and see Coca-Cola, and you know that the President drinks Coke, Liz Taylor drinks Coke, and just think, you can drink Coke, too. A Coke is a Coke and no amount of money can get you a better Coke than the one the bum on the corner is drinking. All the Cokes are the same and all the Cokes are good. Liz Taylor knows it, the President knows it, the bum knows it, and you know it."

"Sometimes you fantasize that people who are really up-there and rich and living it up have something you don't have, that their things must be better than your things because they have more money than you. But they drink the same Cokes and eat the same hot dogs and wear the same ILGWU clothes and see the same TV shows and the same movies. Rich people can't see a sillier version of w:Truth or Consequences, or a scarier version of w:The Exorcist. You can get just as revolted as they can—you can have the same nightmares. All of this is really American."

"Sometimes you're invited to a big ball and for months you think about how glamorous and exciting it's going to be. Then you fly to Europe and you go to the ball and when you think back on it a couple of months later what you remember is maybe the car ride to the ball, you can't remember the ball at all. Sometimes the little times you don't think are anything while they're happening turn out to be what marks a whole period of your life. I should have been dreaming for months about the car ride to the ball and getting dressed for the car ride, and buying my ticket to Europe so I could take the car ride. Then, who knows, maybe I could have remembered the ball."

"They always say that time changes things, but you actually have to change them yourself."

"Sometimes people let the same problem make them miserable for years when they could just say, "So what." That's one of my favorite things to say. "So what." "My mother didn't love me." So what. "My husband won't ball me." So what. "I'm a success but I'm still alone." So what. I don't know how I made it through all the years before I learned how to do that trick. It took a long time for me to learn it, but once you do, you never forget."

"I really do live for the future, because when I'm eating a box of candy, I can't wait to taste the last piece. I don't even taste any of the other pieces, I just want to finish and throw the box away and not have to have it on my mind any more. I would rather either have it now or know I'll never have it so I don't have to think about it. That's why some days I wish I were very very old-looking so I wouldn't have to think about getting old-looking."

"I don't believe in it, because you're not around to know that it's happened. I can't say anything about it because I'm not prepared for it."

"I really believe in empty spaces, although, as an artist, I make a lot of junk. Empty space is never-wasted space. Wasted space is any space that has art in it. An artist is somebody who produces things that people don't need to have but that he, for some reason, thinks it would be a good idea to give them."

"When I look at things, I always see the space they occupy. I always want the space to reappear, to make a comeback, because it's lost space when there's something in it. If I see a chair in a beautiful space, no matter how beautiful the chair is, it can never be as beautiful to me as the plain space."

"Free countries are great, because you can actually sit in somebody else's space for a while and pretend you're a part of it. You can sit in the Plaza Hotel and you don't even have to live there. You can just sit and watch the people go by."

"Somebody said that Bertolt Brecht [German socialist writer of political theater] wanted everybody to think alike. I want everybody to think alike. But Brecht wanted to do it through Communism, in a way. Russia is doing it under government. It's happening here [in America] all by itself without being under a strict government; so if it's working without trying, why can't it work without being Communist? Everybody looks alike and acts alike, and we're getting more and more that way."

"Business art is the step that comes after Art. I started as a commercial artist, and I want to finish as a business artist. After I did the thing called 'art' or whatever it's called, I went into business art. I wanted to be an Art Businessman or a Business Artist. Being good in business is the most fascinating kind of art. During the hippies era people put down the idea of business – they'd say 'Money is bad', and 'Working is bad', but making money is art and working is art and good business is the best art."

"When I have to think about it, I know the picture is wrong. And sizing is a form of thinking and coloring is too. My instinct about painting says, 'If you don’t think about it, it's right'. As soon as you have to decide and choose, it's wrong. And the more you decide about, the more wrong it gets. Some people, they paint abstract, so they sit there thinking about it because their thinking makes them feel they're doing something. But my thinking never makes me feel I'm doing anything."

"A lot of people thought it was me everyone at the 'Factory' was hanging around, that I was some kind of big attraction that everyone came to see, but that's absolutely backward: it was me who was hanging around everyone else. I just paid the rent, and the crowds came simply because the door was open. People weren't particularly interested in seeing me; they were interested in seeing each other. They came to see who came."

"The Pop artists did images that anybody walking down Broadway could recognize in a split second – comics, picnic tables, men's trousers, celebrities, shower curtains, refrigerators, Coke bottles – all the great modern things that the Abstract Expressionists tried so hard not to notice at all. (1960's)"

"Edward Lucie-Smith: Would you like to see your pictures on as many walls as possible, then? Andy Warhol: Uh, no, I like them in closets."

"Edward Lucie-Smith: Why is it more of a pleasure to do 30 or 40 pictures than to do just one? Andy Warhol: Then I can, uh, listen to my soundabout which looks just like the thing that I'm wearing now, and you can listen to opera and stuff like that. Edward Lucie-Smith: Does that mean you don't have to think when you're painting? Andy Warhol: No, you can listen to really good music. Edward Lucie-Smith: So, what, painting is an excuse to listen to really good music? Andy Warhol: Oh, yeah."

"Edward Lucie-Smith: What do you think is the characteristic of a really nice person? Some people you obviously do like more than others. Andy Warhol: Ummm, well, if they talk a lot. Edward Lucie-Smith: What, and don't make you talk? Andy Warhol: Yeah, yes, that's a really nice person. Edward Lucie-Smith: Thank you, Andy."

"I still care about people but it would be so much easier not to care. I don't want to get to close: I don't like to touch things, that's why my work is so distant from myself [Nicolas Love, April 1987]"

"Sex is nostalgia for sex."

"Apparently, most people love watching the same basic thing [actions shows on TV], as long as the details are different. But I'm just the opposite: if I'm going to sit and watch the same thing I saw the night before, I don't want it to be essentially the same – I want it to be exactly the same. Because the more you look at the same exact thing, the more the meaning goes away, and the better and emptier you feel. (1960's)"

"In my art work, hand painting would take much too long and anyway that's not the age we're living in."

"I think somebody should be able to do all my paintings for me."

"Warhol's art can both subvert (up to a point) formal art and, at the same time, offer socially provocative documents to the ordinary, white, middle-class citizen. Blacks and the poor do not like Warhol's art or movies. Documents that are mainly intended as deliberate references to a predominant white culture cannot incite the imaginations of those who don't give a fuck for that culture in the first place, even if they did understand what it was all about. This inability of Warhol to reach blacks and the poor represents the weakest aspect of his art. Warhol's art implies a certain disgust on the part of the artist for culture — a disgust he shares in common with New Left revolutionaries and progressive activist artists and critics. His latest decision, to stop painting altogether, is a deliberate step in the direction away from culture itself. It is also an inevitable step, as the very notion of art works that possess a quality as items to be traded upon the New York art exchange is incompatible with the socialization of art. Modern culture is a repressive, police agency. The police function of modern culture has been recognized by Warhol. His paintings of electric chairs, police attacks, most-wanted men, and car crashes all seem to reflect in art the reality of an official culture of repression rather than of life."

"I think he [Andy Warhol] would be very interested in the moment that the w:Dalai Lama appears, being involved in such a kind of idea. Andy has always difficulties with this kind of political activities, because he works in another kind of world, but he is always.. .Also when he was here (in Germany) last week, he is very interested to hear a lot of new information. He has a kind of observing sense in the back of his mind. So, he is always interested to follow the development, and there is really a kind of imaginative process going on, I think."

"I'll give you an interesting analogy here. Have you ever read w:Carson McCullers' w:The Heart Is a Lonely Hunter? All right. Now in that book you'll remember that this deaf mute, Mr. Singer, this person who doesn't communicate at all, is finally revealed in a subtle way to be a completely empty, heartless person. And yet because he's a deaf mute, he symbolizes things to desperate people. They come to him and tell him all their troubles. They cling to him as a source of strength, as a kind of semi-religious figure in their lives. Andy is kind of like Mr. Singer. Desperate, lost people find their way to him, looking for some sort of salvation, and Andy sort of sits back like a deaf mute with very little to offer."

"He was a slight man who wore a white wig."

"This Neo-Dada, which they call New Realism, Pop Art, Assemblage etc. [Duchamp is referring to Andy Warhol and Roy Lichtenstein,] is an easy way out and lives on what Dada did. When I discovered ready-mades I thought to discourage aesthetics. In Neo-Dada they have taken my ready-made's and found aesthetic beauty in them. I threw the bottle-rack and the urinal in their faces as a challenge and now they admire them for their aesthetic beauty."

"No director in human history has ever made or will ever make worse movies. Warhol makes Ed Wood look like Ingmar Bergman."

"In a strange way, Andy attracted attention because of his wig and his blank personality, which were both really disguises. I saw him at a party once at the Sculls' in Great Neck. He was quiet, polite, and odd, but without any of the posing that he later affected. He was a very single-minded person; he had this drive to work, work, work."

"Warhol--for whom Jackie Kennedy or Marilyn Monroe was as much an art object as any consumable artifact, and who was himself the celebrity-artist par excellence--was arguably more responsible than anyone else for obliterating the line between the avant-garde (which was supposed to appeal to an elite and be disturbing and subversive) and mass art (which was supposed to reach millions and reinforce the American dream)."

"My week beats your year."

"Fuck Radio Ethiopia man, I'm Radio Brooklyn!"

"LR: "Are you political, Lou? Audience: "Yeah, are you?" LR:"Political about what? You give me an issue, I'll give you a tissue and you can wipe my ass with it.""

"Nothing beats 2 guitars, drum and bass."

"Anyone that gets to side four is dumber than I am."

"This is the impossible level, boys. Impossible doesn't mean very difficult, very difficult is winning the Nobel Prize, impossible is eating the sun."

"He's probably the single most untalented person I've heard in my life. He's a two-bit pretentious academic, and he can't play rock'n'roll, because he's a loser. And that's why he dresses up funny. He's not happy with himself, and I think he's right."

"Of course. All the best people are."

"It always bothers me to see people writing 'RIP' when a person dies. It just feels so insincere and like a cop-out. To me, 'RIP' is the microwave dinner of posthumous honors."

"The news I feared the most, pales in comparison to the lump in my throat and the hollow in my stomach. Two kids have a chance meeting and 47 years later we fight and love the same way – losing either one is incomprehensible. No replacement value, no digital or virtual fill . . . broken now, for all time. Unlike so many with similar stories – we have the best of our fury laid out on vinyl, for the world to catch a glimpse. The laughs we shared just a few weeks ago, will forever remind me of all that was good between us. — John Cale about Reed's death"

"And Romeo had Juliette And Juliette had her Romeo I'll take Manhattan in a garbage bag With Latin written on it that says "it's hard to give a shit these days" Manhattan's sinking like a rock Into the filthy Hudson what a shock They wrote a book about it They said it was like ancient Rome"

"This room cost 2,000 dollars a month You can believe it man it's true Somewhere a landlord's laughing till he wets his pants No one here dreams of being a doctor or a lawyer or anything They dream of dealing on the dirty boulevard Give me your hungry, your tired your poor I'll piss on 'em That's what the Statue of Bigotry says Your poor huddled masses, let's club 'em to death And get it over with and just dump 'em on the boulevard"

"You can't depend on a beginning You can't depend on an end You can't depend on intelligence... You can only depend on one thing You need a busload of faith to get by... You can't depend on any churches Unless there's real estate you want to buy You can't depend on a lot of things You need a busload of faith to get by... You can depend on cruelty Crudity of thought and sound... You need a busload of faith to get by, ha"

"And I feel just like Jesus' son"

"Life's like a mayonnaise soda And life's like space without room And life's like bacon and ice cream That's what life's like without you"

"Candy came from out on the Island In the backroom she was everybody's darlin' But she never lost her head Even when she was giving head She says, Hey babe Take a walk on the wild side"

"Candy says I've come to hate my body And all that it requires In this world . . . What do you think I'd see If I could walk away from me"

"I'll be your mirror Reflect what you are In case you don't know"

"When she turned blue, all the angels screamed."

"The Rally Man's patter ran on through the dawn Until we said so long to his skull Shrill yell."

""Just watch," said Sheila, touching her finger to her head."

"You made me forget myself; I thought I was someone else, someone good."

"I watched it for a little while, I like to watch things on TV"

"An eye for an eye is elemental."

"There are problems in these times, but none of them are mine I'm beginning to see the light"

"First thing you learn is that you've always got to wait"

"Jesse you say Common Ground Does that include the ?"

"And Pontiff, pretty Pontiff Can anyone shake your hand? Or is it just that you like uniforms and someone kissing your hand"

"Some people, they like to go out dancin' And other people, they have to work ... And there's even some evil mothers Who'll tell you everything is just dirt You know that women never really faint That villains always blink their eyes, ooh That children are the only ones who blush And that life is just to die But anyone who ever had a heart They wouldn't turn around and break it And anyone who ever played a part Oh, they wouldn't turn around and hate it ... They say Jane, Sweet Jane, oh woah, Sweet Jane, Sweet Jane Heavenly wine and roses seem to whisper to her, hey, when she smiles"

"Lou Reed - Sweet Jane (youtube)"

"The Velvet Underground - Sweet Jane (youtube)"

"When I hear the word Culture I take out my checkbook"

"If you can’t feel it, it must be real."

"Memory is your image of perfection."

"Architecture is my first love, if you want to talk about what moves me — the ordering of space, the visual pleasure, architecture's power to construct our days and nights."

"I have no complaints, except for the world."

"What a ridiculous clusterfuck of totally uncool jokers."

"I really think that my work has been concerned with a scrutiny of how we are to one another. How we love one another, adore one another, detest one another, damage one another, how we caress one another on both an intimate and global scale. The history of the past thousand years is fraught with power and its abuses."

"I’m just trying, like most art or music or movies, to create a commentary—not literal—of how it feels to live another day, to watch the world turn itself inside out or try to turn us inside out."

"I don’t believe that any work, whether it’s a piece of visual art or a novel or a building, is as brilliant and major and extraordinary or as damaged and pathetic and minor as it’s thought to be."

"I have problems with a lot of photography, particularly street photography and photojournalism—objectifying the other, finding the contempt and exoticism that you might feel within yourself or toward yourself and projecting it out to others. There can be an abusive power to photography, too."

"I remember going into galleries and seeing this thing called conceptual art, and I understand people’s marginalization from what the art subculture is because if you haven’t crashed the codes, and if you don’t know what it is, you feel it’s a conspiracy against your unintelligence. You feel it’s fraud. I understand that. Now that I have crashed the code, I understand and support all this work. But I know how, in many ways, it’s a closed language. My work, not so much so, and it’s not by coincidence, because I just feel I relate to that reader who doesn’t know the secret code word."

"the whole decade-izing thing doesn’t work for me. To me, the ’80s began in 1975 and ended in 1984—’84 or ’85 is when the market changed, when things really heated up. For me, decades are weird. Artists always are a reflection of the times they have come up in. And I think that, for us, there was a real historical change, and it was the first time that women had entered the marketplace, that their works had not been marginalized."

"I never say I do political art. Nor do I do feminist art. I’m a woman who’s a feminist, who makes art. But I think what work becomes visible and what work remains absent is always a result of historical circumstance, you know—hard work, to some degree, and social relations."

"Most artists will never make money off their work, but that spark, that need to create commentary, to visualize, textualize, and musicalize your experience of the world will continue whether it’s a hot commodity or not. You see that places where that need is shut down, we see oppressiveness and subjugation. That need to create commentary is huge. Most of that commentary will not make a big flip profit for some guy buying a condo on the next block. You have to go in knowing that."

"(Where is “Your Body Is a Battleground” not an issue?) BK: I’ve not been to that place yet."

"sports is a way that men can be allowed to have physical contact that is disallowed in a homophobic culture—not only in the playing of the game but also in the viewing of the game. Sports promote a kind of romance or a group understanding and intimacy about the notion of teams, about men being together and men’s bodies being together. It’s also true of the military, and it’s true of cultures in certain countries that disallow difference and are homophobic and at the same time are engaged in a war for a world without women."

"of course I’m a feminist, but I speak about feminism as a plural. There are feminisms, and those feminisms are acted out in terms of site specificity: context, race, class, gender, location. They also connect with a larger term, intersectionality, which is commonly used now but which I’ve always understood organically. There is always a connection between issues of race and gender and class. They don’t ever exist separately, and people who feel that they live them separately are really not understanding the multiple forces that have impacts on their identity and their lives. You just can’t talk about sexuality and gender without engaging the complicated issues of race, and you can’t talk about race without engaging complicated, under-recognized issues of class. And it’s wrong to trivialize any one of those things at the price of the other."

"The failure of so-called progressive culture or the left is that people were closed within a bubble. And now it is promoted even more in what are called silos—in the right, the left, the middle, by our online identities, by our bookmarks, by where we go..."

"art is the creation of commentary. I think that art is the ability to textualize or visualize or musicalize one’s experience of the world—not on a diaristic, literal level but in a way that creates a commentary about what it feels to live another day. The goal for every human being, including myself, is to live an examined life—to really think about what makes us who we are in the world and how culture constructs and contains us. That’s what I’m interested in."

"I was never a fan of street photography. I always thought that it was a brutal search on the streets for the most divine grotesquery or the most Other. I was always suspicious of that. A lot of photographers don’t understand the brutality of that practice. There are some photographers who picture people quite brilliantly; Catherine Opie...is an example. But I think photojournalists are incredibly naïve, and many of them think they have halos over their heads, that they are witnessing this brutality but somehow are apart from it."

"The uniform of polish uhlan makes even the youngest, inexperienced boy looks like he's made from steel."

"There is drama in the very air of the place, and I want to be there recording it for the Geographic."

"It is costing much money here, a thing I regret. But you will get your money's worth. My legs curse you. But my heart says 'Thank you'."

"Never grieve for me if it is my good fortune to die with my boots on. That's what I most hope for."

"What I do in the writing of any character is to try to enter into the mind, heart and skin of a human being who is not myself. Whether this happens to be a man or a woman, old or young, with skin black or white, the primary challenge lies in making the jump itself. It is the act of a writer's imagination that I set most high."

"It's by living on, it seems me now, that the way of real honesty lies. The realest possible honesty is come by, attained, earned if you like, by continuing. I'd put up these essays in evidence. Honesty is of human birth: it must breathe, and keep restoring itself."

"Needle in air, I stopped what I was making. From the upper casement, my look-out on the sea, I saw them disembark and find the path; I heard that whole drove of mine break loose on the beautiful strangers. I slipped down the ladder. When I heard men breathing and sandals kicking the stones, I threw open the door. A shaft of light from the zenith struck my brow, and the wind let out my hair. Something else swayed my body outward. "Welcome!" I said- the most dangerous word in the world."

"The nickname of the train was the Yellow Dog. Its real name was the Yazoo-Delta. It was a mixed train. The day was the 10th of September, 1923-afternoon. Laura McRaven, who was nine years old, was on her first journey alone. She was going up from Jackson to visit her mother's people, the Fairchilds, at their plantation named Shellmound, at Fairchilds, Mississippi. When she got there, "Poor Laura, little motherless girl," they would all run out and say, for her mother had died in the winter and they had not seen Laura since the funeral. Her father had come as far as Yazoo City with her and put her on the Dog. Her cousin Dabney Fairchild, who was seventeen, was going to be married, but Laura could not be in the wedding for the reason that her mother was dead. Of these facts the one most persistent in Laura's mind was the most intimate one: that her age was nine."

"[he] said to her, "You will find that men who are generous the way he is generous have needs to match.""

"If you're so smart, why ain't you rich?"

"...all writers speak from, and speak to, emotions eternally the same in all of us: love, pity, terror do not show favorites or leave any of us out. ("Writing and Analyzing a Story")"

"The story and its analyses are not mirror-opposites of each other. They are not reflections, either one. Criticism indeed is an art, as a story is, but only the story is to some degree a vision; there is no explanation outside fiction for what the writer is learning to do. ("Writing and Analyzing a Story")"

"How can you go out on a limb if you do not know your own tree? No art ever came out of not risking your neck. And risk--experiment--is a considerable part of the joy of doing. ("Place in fiction")"

"Making reality real is art's responsibility. It is a practical assignment, then, a self-assignment: to achieve, by a cultivated sensitivity for observing life, a capacity for receiving impressions, a lonely, unremitting, unaided, unaidable vision, and transferring this vision without distortion to it onto the pages of a novel, where, if the reader is so persuaded, it will turn into the reader's illusion. ("Place in Fiction")"

"What can place not give? Theme. It can present theme, show it to the last detail — but place is forever illustrative: it is a picture of what man has done and imagined, it is his visible past, result. Human life is fiction’s only theme. ("Place in Fiction")"

"Since we must and do write each our own way, we may during actual writing get more lasting instruction not from another's work, whatever its blessings, however better it is than ours, but from our own poor scratched-over pages. For these we can hold up to life. That is, we are born with a mind and heart to hold each page up to, and to ask: is it valid? ("Words Into Fiction")"

"The first act of insight is throw away the labels. In fiction, while we do not necessarily write about ourselves, we write out of ourselves, using ourselves; what we learn from, what we are sensitive to, what we feel strongly about--these become our characters and go to make our plots. Characters in fiction are conceived from within, and they have, accordingly, their own interior life; they are individuals every time."

"The novelist works neither to correct nor to condone, not at all to comfort, but to make what's told alive."

"Great fiction shows us not how to conduct our behavior but how to feel. Eventually, it may show us how to face our feelings and face our actions and to have new inklings about what they mean. A good novel of any year can initiate us into our own new experience."

"Every writer, like everybody else, thinks he's living through the crisis of the ages. To write honestly and with all our powers is the least we can do, and the most."

"Long before I wrote stories, I listened for stories. Listening for them is something more acute than listening to them. I suppose it’s an early form of participation in what goes on. Listening children know stories are there. When their elders sit and begin, children are just waiting and hoping for one to come out, like a mouse from its hole."

"All experience is an enrichment rather than an impoverishment."

"It had been startling and disappointing to me to find out that story books had been written by people, that books were not natural wonders, coming up of themselves like grass. Yet regardless of where they came from, I cannot remember a time when I was not in love with them -- with the books themselves, cover and binding and the paper they were printed on, with their smell and their weight and with their possession in my arms, captured and carried off to myself."

"Laurel could not see her face but only the back of her neck, the most vulnerable part of anybody, and she thought: Is there any sleeping person you can be entirely sure you have not misjudged?"

"It was in a bar, a quiet little hole in the wall. It was four o'clock in the afternoon. Beyond the open door the rain fell, the heavy color of the sea, in air where the sunlight was still suspended. Its watery reflection lighted the room, as a room might have lighted a mousehole. It was in New Orleans. (beginning of "The Purple Hat ")"

"Whatever happened, it happened in extraordinary times, in a season of dreams and in Natchez it was the bitterest winter of them all. (beginning of "First Love ")"

"Each day the storm clouds were opening like great purple flowers and pouring out their dark thunder. Each nightfall, the storm was laid down on their houses like a burden the day had carried. ("At The Landing")"

"One morning in summertime, when all his sons and daughters were off picking plums and Little Lee Roy was all alone, sitting on the porch and only listening to the screech owls away down in the woods, he had a surprise. (beginning of "Keela, the Outcast Indian Maiden")"

"She had been out in the rain. She stood in front of the cabin fireplace, her legs wide apart, bending over, shaking her wet yellow head crossly, like a cat reproaching itself for not knowing better. She was talking to herself-only a small fluttering sound, hard to lay hold of in the sparsity of the room. (beginning of "A Piece of News")"

"She has spent her life trying to escape from the parlor-like jaws of self-consciousness. ("Old Mr. Marblehall")"

"happiness, [he] knew, is something that appears to you suddenly, that is meant for you, a thing which you reach for and pick up and hide at your breast, a shiny thing that reminds you of something alive and leaping. ("The Key")"

"The novel's outside world, if well enough created, does live on, when you look at the world of Jane Austen, Flaubert, Turgenev, Tolstoy, Proust! They're indelible. War and Peace is not only real to today's reader, it will outlast him too. (1981)"

"You can't avoid dealing with moral matters, because that's what life is about. But I think it is wrong when somebody like Steinbeck crusades in his fiction. That's why Steinbeck bores me so. The real crusader doesn't need to crusade; he writes about human beings in the sense Chekhov did. He tries to see a human being whole with all his wrong-headedness and all his right-headedness. To blind yourself to one thing for the sake of your prejudice is limiting. I think it is a mistake. There's so much room in the world for crusading, but it is for the editorial writer, the speech-maker, the politician, and the man in public life to do, not for the writer of fiction. (1978)"

"I think Flannery O'Connor was absolutely and literally right in what she says: that the fact that something is comic does not detract from its seriousness, because the comic and the serious are not opposites. You might as well say satire is not serious, and it's probably the most deadly serious of any form of writing, even though it makes you laugh. No, I think comedy is able to tackle the most serious matters that there are. (1972)"

"(Why have there been so few really great women writers?) EW: Well, I think there have been not a few great women writers, of course, Jane Austen. I don't see how anyone could have a greater scope in knowledge of human nature and reveal more of human nature than Jane Austen. Consider Virginia Woolf. The Brontës. Well, you know as many as I do: great women writers. (1972)"

"I used to study Eudora Welty. She has the remarkable ability to give you atmosphere, character, and motion in a single line. In one line! You must study these things to be a good writer. Welty would have a woman simply come into a room and look around. In one sweep she gave you the feel of the room, the sense of the woman's character, and the action itself. All in twenty words. And you say, How'd she do that? What adjective? What verb? What noun? How did she select them and put them together?"

"I was very influenced by American, Southern, short-story writers. Eudora Welty was a great influence on me. Years later, when I met Eudora, visited her in Jackson, there were such parallels between the way she was living, even then, and my life: a black man was mowing the lawn! There was a kind of understanding. Of course, this really had nothing to do with the fact that I thought she was a superb short-story writer."

"Nadine Gordimer writes about black people with such astounding sensibilities and sensitivity-not patronizing, not romantic, just real. And Eudora Welty does the same thing. Lillian Hellman has done it. Now, we might categorize these women as geniuses of a certain sort, but if they can write about it, it means that it is possible. They didn't say, "Oh, my God, I can't write about black people"; it didn't stop them. There are white people who do respond that way though, assuming there's some huge barrier. But if you can relate to Beowolf and Jesus Christ when you read about them, it shouldn't be so difficult to relate to black literature."

"There are lots of women writers in the South, like Flannery O'Connor and Eudora Welty, who wrap you up in a story. They come from a tradition of storytellers which is amazingly similar to the Puerto Rican cuento. "Te voy a echar un cuento," eso era eso era lo que Mamá decía."

"Building community is both a legacy and a responsibility. As a storyteller, listener, recorder, and amateur theorist, I am reminded of a passage in Eudora Welty's Becoming a Writer: "Each of us is moving, changing, and with respect to others. As we discover, we remember; remembering, we discover; and most intensely do we experience this when our separate journeys converge.""

"It should be up to each bar owner and patron to decide if they want to smoke or not."

""The less [government] the better. As far as your personal goals are and what you actually want to do with your life, it should never have to do with the government. You should never depend on the government for your retirement, your financial security, for anything. If you do, you're screwed... That's all the government should be: Army, Air Force, Navy, Marines...I think a lot of people are afraid of freedom. They want their lives to be controlled, to be put into a box... Why should someone put a limit on how much fun I can have, how much I can accomplish?"

"A great photograph is a full expression of what one feels about what is being photographed in the deepest sense, and is, thereby, a true expression of what one feels about life in its entirety."

"I have often thought that if photography were difficult in the true sense of the term — meaning that the creation of a simple photograph would entail as much time and effort as the production of a good watercolor or etching — there would be a vast improvement in total output. The sheer ease with which we can produce a superficial image often leads to creative disaster."

"The herculean task of a photographer is to capture a momentary frame as beautiful in reality, as it would be in a dream."

"For me the future of the image is going to be in electronic form. … You will see perfectly beautiful images on an electronic screen. And I'd say that would be very handsome. They would be almost as close as the best reproductions."

"I eagerly await new concepts and processes. I believe that the electronic image will be the next major advance. Such systems will have their own inherent and inescapable structural characteristics, and the artist and functional practitioner will again strive to comprehend and control them."

"It is horrifying that we have to fight our own Government to save the environment."

"If what I see in my mind excites me, there is a good chance it will make a good photograph."

"I would never apologize for photographing rocks. Rocks can be very beautiful. But, yes, people have asked why I don’t put people into my pictures of the natural scene. I respond, “There are always two people in every picture: the photographer and the viewer.” That usually doesn’t go over at all."

"Yes, in the sense that the negative is like the composer’s score. Then, using that musical analogy, the print is the performance. (Paraphrased as "Film is the score and the print is the performance.")"

"No matter how sophisticated you may be, a large granite mountain cannot be denied — it speaks in silence to the very core of your being."

"The only things in my life that compatibly exist with this grand universe are the creative works of the human spirit."

"At one with the power of the American landscape, and renowned for the patient skill and timeless beauty of his work, photographer Ansel Adams has been visionary in his efforts to preserve this country's wild and scenic areas, both in film and on Earth. Drawn to the beauty of nature's monuments, he is regarded by environmentalists as a monument himself, and by photographers as a national institution. It is through his foresight and fortitude that so much of America has been saved for future Americans."

"His attacks on Reagan’s Secretary of the Interior, James Watt, have received so much attention that Watt was asked about the 'thunderous denunciations of his policies by Ansel Adams.' Watt replied with a shrug, 'Ansel Adams never took a picture with a human being in it in his life.' Adams’ friend photographer James Alinder responded, 'James Watt is no better historian of photography than Secretary of the Interior. Ansel Adams has not only made pictures of people, but his portraits form a major part of his photographic production.' In fact, the Carter Administration broke with tradition by having the Presidential portrait done not by a painter but by a photographer—Adams. Although the break with tradition was highly criticized, the Polaroid photo now hangs in the National Portrait Gallery in Washington."

"While the photos at the D.M.V. (New York) will still be taken in color, the engraving is done in grayscale, hence the Ansel Adams feel."

"There are no rules for good photographs, there are only good photographs."

"When words become unclear, I shall focus with photographs. When images become inadequate, I shall be content with silence."

"If your pictures aren't good enough, you aren't close enough."

"These are the faces of children I embraced and kissed and loved. I cannot imagine that they are dead, that none would survive... A million and a half children among the six million... But this I knew... I wanted to save their faces, not their ashes."

"I read the first edition of 'Mein Kampf' when it came out in 1923 and even then I knew Hitler meant what he said. I knew the history of anti-Semitism going back for centuries, and I knew all about pogroms in Russia and Eastern Europe. When I grew up and whent to school in Moscow, I experienced anti-Semitism and the restrictions on where Jews could live and work. Hitler systemized anti-Semitism. Pogroms are my business... Oh yes, I could be a professor of anti-Semitism."

"Even before the concentration camps, I felt it was my duty to my ancestors to preserve a world which might cease to exist."

"Concentration camp money... It was a German sadism that invented it. Can you do anything with it? Yes, you can cry."

"The Jews of the shtetls that Tolstoy remembered were saints... the people I photographed were saints. So now, in 1983, I tell the world: When you learn about Goethe, don't forget to study the Holocaust, too."

"...can you call a farm with a dozen geese a farm? Still, it was a little better for the Jews in Czechoslovakia. There were only two pogroms there. What's two pogroms?"

"Nature, God, or whatever you want to call the creator of the universe comes through the microscope clearly and strongly"

"The purpose of photography is the transmission of a visualized sector of life through the medium of the camera into a mental process that starts with the photographer's thinking about the subject he photographs and is continued in the mind of the spectator."

"You can't teach biology with a bottle containing dead animals and organisms."

"[The Jews who roamed through Moscow looking for work] had a special kind of face ... a special kind of whisper and a special kind of footstep ... They were like hunted animals."

"My friends assured me that Hitler’s talk was sheer bombast,” Vishniac said in 1955. “But I replied that he would not hesitate to exterminate those people when he got around to it. And who was there to defend them? I knew I could be of little help, but I decided that, as a Jew, it was my duty to my ancestors, who grew up among the very people who were being threatened, to preserve — in pictures, at least — a world that might soon cease to exist."

"Vishniac came back from his trips... with a collection of photographs that has become an important historical document, for it gives us a last minute look at the human beings he photographed just before the fury of the Nazi brutality exterminated them. Vishniac took with him on this self-imposed assignment... a rare depth of understanding and a native son's warmth and love for his people. ~ Edward Steichen, ex-director of photography at the Museum of Modern Art, in the 1950s."

"[his scientific accomplishments] were overshadowed by the photographs he took of Jews in prewar Eastern Europe and in Nazi Berlin. -- Shepard, Richard"

"Those images have proved to be an extraordinary record, made with forebodings of misfortune, that bring alive the flavor of the shtetl, of a Jewish peasant tending geese in the Carpathian Mountains, of tumbledown shacks in the Jewish quarter of Lublin, Poland, of Jewish patriarchs, in long caftans and wearing the furry hat called a shtreimel, trudging through the snow. -- Shepard, Richard"

"I met him in 1966, and discovered how undiscovered he was. -- Cornell Capa"

"[His photography was a] guiding force for visual interpretation [of Schindler's List]."

"[Roman Vishniac is] the official mortuary photographer of Eastern European Jewry. -- Leon Wieseltier, editor of The New Republic"

"“No one who hasn’t tried it can comprehend the careful planning, the diabolical perseverance and the incredible skill it takes to obtain the [photomicroscopic] results he gets,” the magazine quoted Philippe Halsman, former president of the American Society of Magazine Photographers, as saying of Vishniac. “The man is a special kind of genius.”"

"In addition to his charisma and obvious talents, he was also known to possess what Howard Greenberg, Vishniac’s longtime gallerist, identified as “one of the bigger egos on the planet.”"

"We never really cared about all the things that other people cared about, you know? Like, people recognizing me on the street never interested me. I've always been kind of suspicious of the world, anyway, so it's pretty easy for me to live in my own little world."

"I don't want to know about my biggest idols. I don't want to read their autobiographies, I don't want to find out what they're really like."

"I was able to afford a car that didn't break down every five minutes."

"Actually I don't. I've never played with a bass player before, so I wouldn't even know. It wouldn't feel like it's missing, I just think it's normal … I prefer it that way so I only have to concentrate on Jack."

"It's in this book I was reading. Apparently, there's a little red demon dwarf that haunts the city, and before every major bad thing that's happened, it's appeared to somebody. Last time, he appeared in a Cadillac."

"We were like a moth right next to the flame. It's like, do any more and you go down. We were so tired. One final lap, and then have a rest."

"I wasn't brought up with any religion, actually."

"We've never had problems. We love each other, understand each other, and get past anything."

"A really unique feel and super heavy because of the space between the hits. Very influential on me as a teenager. I often think of her when doing certain kick and cymbal hits together. —"

"The White Stripes weren't all about Jack White's howling, ripping guitars, even if that's where the conversation tends to go in certain circles. The fact is, Meg White's minimalistic style was the perfect counter to Jack's shredding, a primal dynamic that gave their tunes that definitive garage stomp. Jack provided the flash, Meg provided the feel."

"Of all the people who make up a movie production unit, the cameraman is the only one who can call himself a free soul."

"The star system has us making pictures with personalities rather than stories, sacrificing everything in order to keep some old bags playing young women."

"I'm often asked by students how a photographer gets over the fear and uneasiness in many people about facing a camera, and I just say that any sensitive man is bothered by a thing like that unless the motive is so strong and the belief in what he’s doing is so strong that it doesn’t matter. The important thing is to do the picture. And I advise people who are bothered by this to cure it by saying to themselves, what I’m doing is harmless to these people really, and there’s no malevolence in it and there’s no deception in it, and it is done in a great tradition, examples of which are Daumier and Goya. Daumier’s Third Class Carriage is a kind of snapshot of some actual people sitting in a railway carriage in France in eighteen-something."

"It is the way to educate your eyes, and more. Stare, pry, listen, eavesdrop."

"When I first looked at Walker Evans's photographs, I thought of something Malraux wrote: "To transform destiny into awareness." One is embarrassed to want so much for oneself. But, how else are you going to justify your failure and your effort?"

"Yes, the hidden camera portraits of Walker Evans from 1938 to 1941 represented humanity, but a particular strain of humanity—a chastened one."

"In a war the normal codes of civilized behavior are suspended. It would be unthinkable in so-called normal life to go into someone's home where a family is grieving over the death of a loved one and spend long moments photographing them. It simply wouldn't be done. Those picture could not have been made unless I was accepted by the people I'm photographing. It's simply impossible to photograph moments such as those…without the complicity of the people I'm photographing…without the fact that the welcomed me, that they accepted me, that they wanted me to be there. They understand that a stranger who's come there with a camera to show the rest of the world what is happening to them…gives them a voice in the outside world that they otherwise wouldn't have. I try my best to approach people with respect. I want them to see that I have respect for them and the situation they're in. I want to be very open in my approach…feel open in my own heart towards them. I want them to be aware of that. People do sense it…with very few words…sometimes with no words at all."

"The worst thing is to feel that as a photographer I'm benefiting from someone else's tragedy. This idea haunts me. It's something I have to reckon with every day, because I know that if I ever allow genuine compassion to be overtaken by personal ambition, I will have sold my soul. The only way I can justify my role is to have respect for the other person's predicament. The extent to which I do that is the extent to which I become accepted by the other and to that extent I can accept myself."

"You know what they say - the sweetest word in the English language is revenge."

"The whole world is a scab. The point is to pick it constructively."

"Julie won a scholarship to Harvard. Graduated with honors and received another scholarship to Boston University Medical School. Julie became a medical doctor, alas, losing her medical license to a terrible addiction to heroin. As an ex-addict, she now manages Autoworld Go Carts in West Covina, California. She has the highest score on PacMan... Go Julie!!!"

"There's no excuse to be bored. Sad, yes. Angry, yes. Depressed, yes. Crazy, yes. But there's no excuse for boredom, ever."

"You have a moral obligation to finish the job you said you would do."

"Adapt and overcome."

"A lot of people can forget about you in Los Angeles."

"Just because you are lucky does not mean you make good choices."

"Throughout time painting has alternately been put to the service of the Church, the State, arms, individual patronage, scientific phenomena, anecdote and decoration … all the marvelous works that have been painted, whatever the sources of inspiration, still live for us because of absolute qualities they possess in common. The creative force and the expressiveness of painting reside materially in the colour and texture of pigments, in the possibilities of form invention and organisation, and in the flat plane on which these elements are brought into play."

"I have finally freed myself from the sticky medium of paint, and am working directly with light itself."

"One of the satisfactions of a genius is his will-power and obstinacy."

"It has never been my object to record my dreams, just the determination to realize them."

"There is no progress in art, any more than there is progress in making love. There are simply different ways of doing it."

"There is … your high bridge in Pasadena from which every once in a while someone jumps off, committing suicide. There is no question of removing the bridge. Poems have been written by well-known authors that are supposed to have driven love-sick young people to suicide. These works are not banned. Thousands lose their lives in automobile accidents, yet nothing is done to restrain manufacturers from building lethal instruments that can do more than 30 miles an hour. To me, a painter, if not the most useful, is the least harmful member of our society. An unskilled cook or doctor can put our lives in danger. l have tried … to paint a picture that would, like the beautiful head of Medusa, turn the spectator to stone … so that certain ones who looked at it would drop dead … but l have not yet succeeded!"

"A creator needs only one enthusiast to justify him."

"Of course, there will always be those who look only at technique, who ask "how", while others of a more curious nature will ask "why". Personally, I have always preferred inspiration to information."

"All critics should be assassinated."

"An original is a creation motivated by desire. Any reproduction of an original is motivated by necessity. The original is the result of an automatic process, the reproduction, of a mechanical process. In other words: Inspiration then information; each validates the other. All other considerations are beyond the scope of these statements. It is marvelous that we are the only species that creates gratuitous forms. To create is divine, to reproduce is human."

"l paint what cannot be photographed, and l photograph what l do not wish to paint. lf it is a portrait that interests me, a face, or a nude, I will use my camera. It is quicker than making a drawing or a painting. But if it is something I cannot photograph, like a dream or a subconscious impulse I have to resort to drawing or painting. To express what I feel I use the medium best suited to express that idea, which is also always the most economical one. l am not at all interested in being consistent as a painter, and object-maker or a photographer. I can use several different techniques, like the old masters who were engineers, musicians and poets at the same time. I have never shared the contempt shown by painters for photography: there is no competition involved, painting and photography are two media engaged in different paths. There is no conflict between the two."

"I have been accused of being a joker. But the most successful art to me involves humor."

"unconcerned but not indifferent"

"I do not photograph nature. I photograph my visions. Quoted in PBS episode of American Masters"

"You see, I try to walk the tightrope of accomplishment between the chasms of notoriety and oblivion."

"Don't put my name on it. These are simply documents I make."

"It's a Man Ray kind of sky, Let me show you what I can do with it."

"With him you could try anything—there was nothing you were told not to do, except spill the chemicals. With Man Ray, you were free to do what your imagination conjured, and that kind of encouragement was wonderful."

"Man Ray, n.m. synon. de Joie jouer jouir. (Translation: "Man Ray, masculine noun, synonymous with joy, to play, to enjoy.")"

"Man Ray is a youthful alchemist forever in quest of the painter's philosopher's stone. May he never find it, as that would bring an end to his experimentations which are the very condition of living art expression."

"[Man Ray was] a kind of short man who looked a little like Mister Peepers, spoke slowly with a slight Brooklynese accent, and talked so you could never tell when he was kidding."

"[Do you have a motto or creed that as an artist you live by?] Inspiration is for amateurs — the rest of us just show up and get to work. And the belief that things will grow out of the activity itself and that you will — through work — bump into other possibilities and kick open other doors that you would never have dreamt of if you were just sitting around looking for a great "art idea". And the belief that process, in a sense, is liberating and that you don't have to reinvent the wheel every day. Today, you know what you'll do, you could be doing what you were doing yesterday, and tomorrow you are gonna do what you did today, and at least for a certain period of time you can just work. If you hang in there, you will get somewhere."

"I saw and approached the hungry and desperate mother, as if drawn by a magnet. I do not remember how I explained my presence or my camera to her, but I do remember she asked me no questions. I made five exposures, working closer and closer from the same direction. I did not ask her name or her history. She told me her age, that she was thirty-two. She said that they had been living on frozen vegetables from the surrounding fields, and birds that the children killed. She had just sold the tires from her car to buy food. There she sat in that lean-to tent with her children huddled around her, and seemed to know that my pictures might help her, and so she helped me. There was a sort of equality about it."

"You put your camera around your neck in the morning, along with putting on your shoes, and there it is, an appendage of the body that shares your life with you. The camera is an instrument that teaches people how to see without a camera."

"One should really use the camera as though tomorrow you'd be stricken blind. To live a visual life is an enormous undertaking, practically unattainable. I have only touched it, just touched it."

"We live not only inside a body but within a story as well, and our story resides in the land as sure as the vision of Dorothea Lange's desperate, running horse."

"..art lies in the fine choice. The artist does not teach us to see facts: he teaches us to feel harmonies."

"Painting, which is essentially a rhythmic harmony of coloured spaces."

"Realism was the death of art."

"Great art should come from the harmony of two lines."

"Ten Practical Experiments"

"Art is the most valued thing in the world...it is the expression of the highest form of human energy,the creative power nearest to the divine.The power is within - the question is how to reach it."

"This man has one dominating idea..to fill space in a beautiful way."

"The world's problems are pressing in on us all. The scale and impact of human activities now affects a great portion of the global resources important to human welfare. These activities are putting growing, often destructive pressure on the global environment, pressure that appears likely to increase as human numbers swell toward the doubling of the world's population that evidently lies ahead. These pressures can spawn or aggravate conflict that. in a world with so much destructive weaponry, generates important national security problems. Great changes are necessary to help ensure a humane future for the generations to come. Most of the world's scientific community and many people in the environmental movement are aware of the gravity of the problems. Yet despite sober warnings from these and other groups, in both the industrial and the developing world, re- medial efforts frequently appear powerless and ineffectual. The scientific community has not taken a sustained, powerful role in the public arena where this great cluster of issues is debated and where the problems must be resolved. There is much more that our community can contribute to assessment, warning, and proposals for new patterns of behavior."

"While science and technology play critical roles in sustaining modern civilization, they are not part of our culture in the sense that they are not commonly studied or well comprehended. Neither the potential nor the limitations of science are understood so that what can be achieved and what is beyond reach are not comprehended. The line between science and magic becomes blurred so that public judgments on technical issues can be erratic or badly flawed. It frequently appears that some people will believe almost anything. Thus judgments can be manipulated or warped by unscrupulous groups. Distortions or outright falsehoods can come to be accepted as fact."

"Distortion and false statements have a sturdy history in public discourse. Neither the government nor large organizations can be depended on to support their objectives honestly and with integrity. Replying in kind turns out not to be an option, not just to retain scientific integrity but for practical reasons. Critics, whether individuals or public interest groups, cannot afford to slant the truth, ever. Scientists are far more vulnerable to the consequences of their own ill-considered words than are laypeople, owing to the care and integrity that is believed to characterize the scientific approach to problems. Intentional distortions are almost always uncovered and the purveyors pilloried without mercy. It may not be forgotten for years and surfaces over and over again. So too will honest mistakes which, along with even minor exaggerations, are seized on and exploited mercilessly. Not a bad rule — one that I and some colleagues observe — is to pull back a bit in most argument. Not only should one never distort nor exaggerate, it is best, I believe, to understate."

"We are immersed in one of the most significant revolutions in man's history. The force that drives this revolution is not social dissension or political ideology, but relentless exploitations of scientific knowledge. There is no prospect that this revolution will subside; on the contrary, it will continue to transform profoundly our modes of living and dying. That many of these transformations have been immeasurably beneficial goes without saying. But, as with all revolutions, the technological revolution has released destructive forces, and our society has failed to cope with them. Thus we have become addicted to an irrational and perilous arms race, and we are unable to protect our natural environment from destruction."

"What should thoughtful people do? Are there means to brighten future prospects in the face of such human myopia and stubbornness? There are many in the scientific community whose views are bleak. One biologist, speaking to me many years ago, remarked that many of his colleagues thought of the behavior of the human race as similar to a one-celled animal's. Such an animal may extend a pseudopod in search of food; if hurt or blocked, it pulls back, but otherwise its activity continues, mindlessly, without understanding, without end. With larger perils unperceived, it can destroy itself."

"All we who can gauge the threats can do is soldier on, exploiting what tools we have, gaining as much ground as time permits: seizing issues when they are ripe, remaining patient and careful with facts, even when faced with relentless and reckless opposition, mounting sustained campaigns and avoiding simple shots across the bow, combining solid analysis with persistent outreach and public education, touching people as widely as we can, and, as Winston Churchill emphasized, never giving up. Many of us in science understand well what the costs of inattention and lack of care will be. … Yet neither we nor others have yet caught the sustained attention of our fellow humans, and, until we do, the world cannot escape from its troubles . Thus the deepest question before us all is: How will our species reach the understanding and gain the political will to alter the prospects on the horizon? No one now has the answer to that need. It is indeed a distant light."

"I know how to tell a story, but there’s a deeper thing I’m trying to get to now that can’t be expressed with a caption."

"People say New York is a melting pot, but it's really not. It's this mosaic of all these different cultures that really don't understand each other very well."

"The art of acceptance is the art of making someone who has just done you a small favor wish that he might have done you a greater one."

"A lady is a woman who makes a man behave like a gentleman."

"A photographer's best work is, alas, generally done for himself."

"Photography can never grow up if it imitates some other medium. It has to walk alone; it has to be itself."

"Suppose we took a thousand negatives and made a gigantic montage: a myriad-faceted picture containing the elegances, the squalor, the curiosities, the monuments, the sad faces, the triumphant faces, the power, the irony, the strength, the decay, the past, the present, the future of a city – that would be my favorite picture."

"I wanted to photograph this subject because the signs’ shrieking blatancy literally cried out for a visual record. To my mind the faded, yellowing paper and the red paint were not particularly paint,able. In black and white the signs shouted, clamored for attention, in visual anarchy. At the same time, the shrewd business sense which plastered them solid over the entire window area produced, as it were by chance, an esthetic by-product: the whole has homogeneity and variety of texture, simultaneously, which give the picture interest."

"The Baroness was like Jesus Christ and Shakespeare all rolled into one and perhaps she was the most influential person to me in the early part of my life."

"I believe there is no more creative medium than photography to recreate the living world of our time. Photography gladly accepts the challenge because it is at home in its element: namely, realism—real life—the now."

"People say they have to express their emotions. I’m sick of that. Photography doesn’t teach you how to express your emotions; it teaches you how to see."

"The Saturday arguments about photography as a machine art are answered by the best photographers. "If the camera were a machine!" Berenice Abbott said, "with the precision and the flexibility, the accommodation and power of machines as we know them today!" And "Our lighting has not been begun," she said. "We need a light as good as sunlight-better than sunlight.""

"New York is a giant place and no matter how big you get, there's still going to be a ton of people who haven't heard of you."

"When you say journalist, it's like oh -- how many sources have you fact checked? When you say photographer -- it's, why are your photos a little bit out of focus? The answer is because I don't care. I like to call myself a storyteller so I don't have to worry about other people's definition of what correct work is."

"The fact that people are so willing to disclose (deeply personal issues in their lives) shows you how much we avoid talking about these very serious issues in our everyday lives,"

"Photography records the gamut of feelings written on the human face, the beauty of the earth and skies that man has inherited, and the wealth and confusion man has created. [It is] a major force in explaining man to man."

"Today, I am no longer concerned with photography as an art form. I believe it is potentially the best medium for explaining man to himself and his fellow man."

"He used lighting to create these kind of abstract environments for his subjects—in our show, there's a portrait of Maurice Chevalier dancing while holding his hat, but the shadows of him and his arm look like they're almost dancing in these abstract forms. The focus is very much on him and his face, yet it's all constructed in a very modernist environment."

": "Thoroughly Modern Steichen", senior curatorial assistant of "Edward Steichen in the 1920s and 1930s: A Recent Acquisition" exhibition, Carrie Springer, Interview, Hannah Ghorashi, 12/5/13."

"I must admit that I am not a member of the ugly school. I have a great regard for certain notions of beauty even though to some it is an old fashioned idea. Some photographers think that by taking pictures of human misery, they are addressing a serious problem. I do not think that misery is more profound than happiness."

"In order to build a career and to be successful, one has to be determined. One has to be ambitious. I much prefer to drink coffee, listen to music and to paint when I feel like it."

"I really don’t think I was influenced by anyone. I think I will leave it up to someone else to determine who influenced me. I admired a tremendous number of photographers, but for some reason I arrived at a point of view of my own."

"I never felt the need to do what everyone else did. And I wasn’t troubled by the fact that other people were doing other things."

"I never thought of the urban environment as isolating. I leave these speculations to others. It’s quite possible that my work represents a search for beauty in the most prosaic and ordinary places. One doesn’t have to be in some faraway dreamland in order to find beauty. I realize that the search for beauty is not highly popular these days. Agony, misery and wretchedness, now these are worth perusing."

"I didn’t photograph people as an example of New York urban something or other. I don’t have a philosophy. I have a camera. I look into the camera and take pictures. My photographs are the tiniest part of what I see that could be photographed. They are fragments of endless possibilities."

"I don’t plan things. As a rule I prefer to see what happens."

"I don’t need to belittle the work of present day photography. I see quite often things that I like and admire. I do digital photography myself. Certain people of my generation decided that the past was better than the present. I am not sure that that is true. I don’t want to be one of those people that says the world has come to an end."

"I didn’t try to communicate any kind of philosophy since I am not a philosopher. I am a photographer. That’s it."

"I am not immersed in self-admiration. When I am listening to Vivaldi or Japanese music or making spaghetti at three in the morning and realize that I don’t have the proper sauce for it, fame is of no use. The other way to put it is that I don’t have a talent for narcissism. Or, to put it yet another way, the mirror is not my best friend."

"Leiter’s sensibility . . . placed him outside the visceral confrontations with urban anxiety associated with photographers such as Robert Frank or William Klein. Instead, for him the camera provided an alternate way of seeing, of framing events and interpreting reality. He sought out moments of quiet humanity in the Manhattan maelstrom, forging a unique urban pastoral from the most unlikely of circumstances."

"My fiancé is so handsome. Imma have to send his parents a fruit basket thanking them for creating the perfect man."

"I'm beyond lucky to have fallen in love with my best friend."

"I'd like to thank my parents for providing me with a high IQ & I'd like to thank my grams for encouraging me not to be a self absorbed idiot"

"Two out of my three cats follow me around like furry little stalkers. It's such a nice ego boost."

"It's Friday the 13th. my favorite holiday. Keep it weird."

"Halloween is so close I can practically taste the children's tears."

"All black everyday always"

"I wish there was an on & off switch for my brain. I think too fucking much."

"saddened to hear the passing of a true artistic master, H.R. Giger. Ur legacy will live on through ur innovative & stimulating originality"

"Attempting to be a people pleaser is a fruitless task so, fuck it."

"Humans are an embarrassing species w/ small glimmers of beauty that seep through the veil of bigotry&stupidity, every once in a small while."

"the death of young musicians isn't something to romanticize (cont)"

"I'll never know my father because he died young & it becomes a desirable feat because ppl like u think it's "cool"(cont)"

"Well, it's fucking not. Embrace life, because u only get one life. The ppl u mentioned wasted that life.Don't be 1 of those ppl"

"ur too talented to waste it away."

"I'm not attacking anyone. I have no animosity towards Lana, I was just trying to put things in perspective from personal experience"

"Dark City is such an underrated film."

"Happy birthday to my unorthodox/free spirited mother @Courtney thanks for teaching me to embrace creativity&survive"

"Constantly battling with sabretooth tigers and fluid drained lighters."

"Stardust coursing through our veins."

"Being a people pleaser is a fruitless task; love is love. There's no debating that concept."

"You see something faraway & it looks beautiful & very seductive; but as you go closer you realize it's actually bugs crawling over a corpse."

"The Idealization of deep flaws seeping through coiled cracks; The reality we all want to avoid is a plagued sickness we choose to live with."

"So many ways to be deemed unclean"

"I'm coming back as a cat or a tree or a molecule in my next life."

"Teetering in between worlds with a sleepy conscious, pestilence, infinite knowledge, alienation, burning cigarettes, vibes & male seahorses."

"The people who Bitch about life the most are the people who secretly love bitching"

"Self-fulfillment and Growth are some of the most courageous acts on this planet"

"I'm a different person. I don't want to be titled as Courtney Love and Kurt Cobain's daughter. I want to be thought of as Frances Cobain."

"She tells me to "live free and be free, but listen to other people's advice." I listen, but I don't always follow it."

"My favorite color is light pink. I also like baby blue because it brings out my eyes."

"New York is like my dream city. That's where I'm going to live, I'm convinced of it."

"Mom and I…we're both very flaky people."

"I get it, I really do, but at the same time, it's creepy. It's creepy to see fan sites about me."

"These people are fascinated by me, but I haven't done anything. I'm famous by default. I came out of the womb and people wanted to know who I was because of my parents. If you're a big Nirvana fan, a big Hole fan, then I understand why you would want to get to know me, but I'm not my parents. People need to wait until I've done something valid with my life."

"I have the attention span of a rabbit on cocaine."

"I can count on one hand how many people I trust."

"I want to be sublimely happy."

"I don't like to look sloppy. I'm a girlie-girl."

"While I'm generally silent on the affairs of my biological mother, her recent tirade has taken a gross turn. I have never been approached by Dave Grohl in more than a platonic way. I'm in a monogamous relationship and very happy. Twitter should ban my mother."

"Kurt got to the point where he eventually had to sacrifice every bit of who he was to his art, because the world demanded it of him," Frances says bluntly at one point. "I think that was one of the main triggers as to why he felt he didn't want to be here and everyone would be happier without him."But "in reality, if he had lived," she goes on, "I would have had a dad. And that would have been an incredible experience."

"It paints a portrait of a man attempting to cope with being a human."

"Even though Kurt died in the most horrific way possible, there is this mythology and romanticism that surrounds him, because he's 27 forever. The shelf life of an artist or musician isn't particularly long. Kurt has gotten to icon status because he will never age. He will always be that relevant in that time and always be beautiful."

"There is, with any great artist, a little manic-ness and insanity."

"My dad was exceptionally ambitious. But he had a lot thrown on him, exceeding his ambition. He wanted his band to be successful. But he didn't want to be the fucking voice of a generation."

"I don't really like Nirvana that much. [grins] Sorry, promotional people, Universal. I'm more into Mercury Rev, Oasis, Brian Jonestown Massacre. [laughs] The grunge scene is not what I'm interested in. But "Territorial Pissings" is a fucking great song. And "Dumb"—I cry every time I hear that song. It's a stripped-down version of Kurt's perception of himself—of himself on drugs, off drugs, feeling inadequate to be titled the voice of a generation."

"No. I would have felt more awkward if I'd been a fan. I was around 15 when I realized he was inescapable. Even if I was in a car and had the radio on, there's my dad. He's larger than life and our culture is obsessed with dead musicians. We love to put them on a pedestal. If Kurt had just been another guy who abandoned his family in the most awful way possible… But he wasn't. He inspired people to put him on a pedestal, to become St. Kurt."

"They [Dave Grohl, Krist Novoselic, and Pat Smear] look at me, and you can see they're looking at a ghost. … Dave said, "She is so much like Kurt." They were all talking amongst themselves, rehashing old stories I'd heard a million times. I was sitting in a chair, chain-smoking, looking down like this. [acts bored] And they went, "You are doing exactly what your father would have done.""

"The hardest part of doing anything creatively is just getting up and doing. Once I get out of bed and get into my art room, I start painting. I'm there. And I'm doing it."

"We're each other's everything."

"I love strong, opinionated, intelligent women."

"In the artist/theorist tradition of Robert Smithson, Joseph Nechvatal is a pioneer in the field of digital image making who challenges our perceptions of nature by altering conventional notions of space and time, gender, and self... Nechvatal successfully plunged into the depths where art, technology and theory meet."

"One of our core beliefs was that significant art could be made by anyone, anywhere and anytime. You didn’t have to live and work in New York City to be an artist. It was in line with the philosophy of Outsider art and movements for artistic "localism.""

"I’d like to think I have somehow connected or tapped to our collective subconscious, but in a sense I am just pulling ideas off the morning news. The real challenge is to make art out of these bits and pieces of our reality. I am a third-generation artist raised in the ghetto who was classically educated. This had its assets and liabilities."

"I make installations and the final result is a video projection and the photograph. If I didn’t make video projections, then call me one thing; if I didn’t make photos, then call me another. I’m in between an installation artist, video artist and photographer. And when you work with nude bodies, you’re immediately called a pornographer or a fashion photographer."

"For me, the nude body is like a raw material.. another artist might use oil or clay. I love the fact that, en masse, it can be turned into an infinite number of shapes or abstractions, while the setting I choose.. rural, urban, indoors or out.. is like a canvas."

"My work's an attempt to challenge notions about nudity in a public space and how the body is represented in our culture."

"When you see 300 people naked in Grand Central Station, or a river of flesh flowing through the beauty aisles of Selfridges department store, it makes you think about all sorts of social and political issues."

"Photography is not an art. Neither is painting, nor sculpture, literature or music. They are only different media for the individual to express his aesthetic feelings.. .You do not have to be a painter or a sculptor to be an artist. You may be a shoemaker. You may be creative as such. And, if so, you are a greater artist than the majority of the painters whose work is shown in the art galleries of today."

"Atmosphere is the medium through which we see all things. In order, therefore, to see them in their true value on a photograph, as we do in Nature, atmosphere must be there. Atmosphere softens all lines; it graduates the transition from light to shade; it is essential to the reproduction of the sense of distance. That dimness of outline which is characteristic for distant objects is due to atmosphere. Now, what atmosphere is to Nature, tone is to a picture."

"Photography as a fad is well-nigh on its last legs, thanks principally to the bicycle craze."

"to show that [the success of my portray-] photographs was not due to subject matter – not to special trees or faces, or interiors, to special privileges – clouds were there for everyone.. .I wanted to photograph clouds to find out what I had learned in forty years about photography. Through clouds to put down my philosophy of life.. .My aim is increasingly to make my photographs look so much like photographs that unless one has eyes and sees, they won't be seen – and still everyone will never forget them having once looked at them."

"I know exactly what I have photographed [in his series 'Equivalents', 1925 - 1934]. I know I have done something that has never been done.. .I also know that there is more of the really abstract in some 'representation' than in most of the dead representations of the so-called abstract so fashionable now."

"There is a reality — so subtle that it becomes more real than reality. That's what I'm trying to get down in photography."

"I have always been a great believer in today. Most people live either in the past or in the future, so that they really never live at all. So many people are busy worrying about the future of art or society, they have no time to preserve what is. Utopia is in the moment. Not in some future time, some other place, but in the here and now, or else it is nowhere."

"Nearly right is child's play"

"Man: [looking at a Stieglitz's photo of 'Equivalents'] Is this a photograph of water? Stieglitz: What difference does it make of what it is a photograph? Man: But is it a photograph of water? Stieglitz: I tell you it does not matter. Man: Well, then, is it a picture of the sky? Stieglitz: It happens to be a picture of the sky. But I cannot understand why that is of any importance."

"AS A KID I WAS PROMISED an America - An America I believed in - and I insist on living - and dying - in that America, even I have to create it myself."

"When I make a photograph, I make love."

"I am an American. Photography is my passion. The search for truth my obsession"

"Stieglitz, in America through photography, has shown us, as far as possible, the objectivity of our outer world. I speak of that photography in which the genius of man leaves to the machine its full power of expression. For it is only thus that we can reach a comprehension of pure objectivity. Objective truth takes precedence over Stieglitz in his work. By means of a machine he shows us the outer life."

"Then, one afternoon he turned me [Stieglitz, in 1941] loose, alone, among the several boxes of [his photo-series:] 'w:Equivalents'. He had learned to trust me.. ..A couple of hours later I came out in tears. I had been through a tremendous experience. It was like the thunderstorm I felt in my head once in Paris.. ..Music has done this to me many times, but though I already deeply loved photographs, nothing like this had happened to me before.. .Stieglitz, amused and compassionate, waited until I could speak.."

"..he persisted in following his instinctive feeling that the photographic image was more beautiful than anything the human hand could do to it. In the middle of his activities [for 'w:Photo-Secession' and 'w:291 (magazine)' ], he still found time to greet the new [20th] century with the penetrating tenderness that characterizes his work - photographs of a locomotive, an airplane, of the rising changing city, and the Steerage, that strange picture of immigrants returning to Europe, with his prophetic split organization of form."

"It seems odd to think of you at 'Lake George' tonight – I can smell the outdoors – and hear it – and see the stars – So often before I went to bed at night I would walk out toward the barn and look at the sky in the open space. There was no light little house – there were no people – there was only the night – I will never go back again – maybe to stand just for a moment where I put the little bit that was left of Alfred [Stieglitz], her husband] after he was cremated – but I think not even for that. I put him where he would hear the lake. – That is finished."

"I have been frequently accused of deliberately twisting subject matter to my point of view. Above all, I know that life for a photographer cannot be a matter of indifference. Opinion often consists of a kind of criticism. But criticism can come out of love. It is important to see what is invisible to others — perhaps the look of hope or the look of sadness. Also, it is always the instantaneous reaction to oneself that produces a photograph. My photographs are not planned or composed in advance, and I do not anticipate that the onlooker will share my viewpoint. However, I feel that if my photograph leaves an image on his mind, something has been accomplished."

"Black and white are the colors of photography. To me, they symbolize the alternatives of hope and despair to which mankind is forever subjected. Most of my photographs are of people; they are seen simply, as through the eyes of the man in the street. There is one thing the photograph must contain, the humanity of the moment. This kind of photography is realism. But realism is not enough—there has to be vision and the two together can make a good photograph. It is difficult to describe this thin line where matter ends and mind begins."

"Life for a photographer cannot be a matter of indifference and it is important to see what is invisible to others."

"People are my favourite subject because there are no two alike, so my work never becomes routine."

"Photography is more than a means of recording the obvious. It is a way of feeling, of touching, of loving. What you have caught on film is captured forever, whether it be a face or a flower, a place or a thing, a day or a moment. The camera is a perfect companion. It makes no demands, imposes no obligations. It becomes your notebook and your reference library, your microscope and your telescope. It sees what you are too lazy or too careless to notice, and it remembers little things, long after you have forgotten everything."

"By definition, a catalogue raissonne employs methodical scholarship to gather and digest in systematic form all that can be known of an artist's work and life. In short the evidence of his intellectual and cultural life."

"To paint involves a certain crisis, or at least a crucial moment of sensation or release.By crisis by no means limited to a morbid state, but could just as easily be an ecstatic impulse."

"I'm drawn to the primitive, the ritual and fetish elements."

"For myself the past is the source (for all art is vitally contemporary)."

"In painting it is the forming of the image."

"Each line is now the actual experience with its own innate history. It does not illustrate — it is the sensation of its own realization. [a written art note by Twombly on a painting he created in 1957]."

"I think of myself as a Romantic Symbolist."

"I show things in flux."

"I respond to the Greek love of metamorphosis."

"I work in waves because I'm impatient. It has to be done. I take liberties."

"When I work I work very fast, but preparing the work can take any length."

"Probably even more than the architecture I'd be drawn to landscape. That's my first love, landscape.. .All kinds of landscape, if it's not cluttered up and vandalised. Yesterday we went out to Blenheim, and I love the flatness and the trees. I like all kinds. And where I'm from, the central valley of Virginia, is not one of the most exciting landscapes in the world, but it's one of the most beautiful. It's very beautiful because it has everything. It has mountains, there are streams, there are fields, beautiful trees. And architecture sits very well in it.. .And I've always lived in the south of Italy, because it’s more excitable. It's volcanic. The land affects people naturally, that's part of the characteristics, for me, of a people, in a sense."

"I knew a poet who was totally ignorant about botany. And I said: you can't be a poet without knowing any botany or plants and things like that; it's impossible, that's the first thing you should know."

"I've found when you get old you must return to certain things in the beginning, or things you have a sentiment for or something. Because your life closes up in so many ways or doesn't become as flexible or exciting or whatever you want to call it. You tend to be nostalgic. And I think about my boats. It's more complicated than that, but also it's going out and also there's a lot of references to crossing over. But the thing of the Nile boat in Winter's Passage: Luxor was about the wonderful thing, the lazy thing, of being two or three months in Luxor by the river. It was just that, it explains a winter passage. From a certain point to the other side: it's like the Greek boat that ferries you over to the other world. That sculpture didn't have it. But sometimes the large painting in Houston does have it. It's a passage through everything."

"And I am very happy to have the boat motif because, when I grew up, in summer with my parents we were always in Massachusetts, and I was always by the sea. You know, sometimes little boys love cars, but I had a particular passion for boats, and now I live by the sea. For sure, it is a passage, but it's also very fascinating for lots of things. When you get interested in something you can find out a lot about things. You might meet people who are interested in one subject or another, like they collect palms. I've found people from all over the world who were fanatical about palms, which you wouldn't know unless you were interested in palms. And the sea: because, if you've noticed, the sea is white three quarters of the time, just white – early morning. Only in the fall does it get blue, because the haze is gone. The Mediterranean [where Twombly is living later in his life], at least – the Atlantic is brown – is just always white, white, white. And then, even when the sun comes up, it becomes a lighter white.. .Not because I paint it white; I'd have painted it white even if it wasn't, but I am always happy that I might have. It's something that has other consciousness behind it."

"It's a sort of infantile thing, painting. Paint in a sense is a certain infantile thing. I mean in the handling. I start out using a brush but then I can't take the time because the idea doesn't correspond, it gets stuck when the brush goes out of paint in a certain length of time. So I have to go back and by then I might have lost the rest of it. So I take my hand and I do it. Or I have those wonderful things that came in later: paint sticks.. .So I had to find things that I could use, like my hands or the paint sticks.. .And I did those charts, big palettes.. .two or three paintings with palettes and all of the colours – pink, flesh, brown, red for blood. And I think with most painters you can think and it can change very fast, the impetus of what something is. It's instinctive in a certain kind of painting, not as if you were painting an object or special things, but it's like coming through the nervous system. It's like a nervous system. It's not described, it's happening. The feeling is going on with the task."

"To me, Pollock is the height of American painting. It's very lyrical. Gorky, who is very passionate, can copy a drawing or take a drawing and copy it exactly as a painting, and Miro can too, it's amazing. Miro can do a drawing to paint and that's another training in a sense. So there's a certain mannerism that comes in both of them [three], and probably everything becomes obvious in time. But I don't have that. The line is illustrated or the colour. I'm sure it has great feeling when they're doing it, but it's more towards defining something. It has a certain clarity because it's a complex thing. I'm a painter and my whole balance is not having to think about things. So all I think about is painting. It's the instinct for the placement where all that happens. I don't have to think about it. So I don't think of composition; I don’t think of colour here and there. Sometimes I alter something after. So all I could think is the rush.. .I cannot make a picture unless everything is working. It's like a state."

"It's more like I'm having an experience than making a picture. So I've never had anyone around. I never have. People are different, but I have to really be with no interference. And it takes me hours. Painting a picture is a very short thing if it goes well, but the sitting and thinking.. .I usually go off on stories that have nothing to do with the painting, and sometimes I sit in the opposite room to where I work. If I can get a good hot story I can paint better, but sometimes I'm not thinking about the painting, I'm thinking about the subject. Lots of times I'll sit in another room and then I might just go in. It takes a lot of freedom. I'm working for two years on a subject now: ten paintings, and that can carry on for two years. I worked last summer and I started this summer and with just the simplest motif I just can't seem to do it. And everything slowed down."

"Cy Twombly was the first [artist], Robert Rauschenberg shared ideas with]. But Cy and I were not critical. I did my work and he did his. Cy's direction was always so personal that you could only discuss it after the fact."

"For Twombly, the first thing is the line. It is something deliberately artificial and artistic. He has worked on his line, has made it supple enough to convey form, pace, depth and much else besides (Catlo Huber). The line, which Paul Klee called a path, a guide through the imaginary territory of the picture, becomes in Twombly's hands, a vibrant, autonomous, complex 'self' and 'other' that roams through wider and wider landscapes, spaces and processes. Or, as Twombly himself says: each line is the present expedience of its own inherent history.."

"The curator [Varnedoe] somewhat underplays the vast impact of Twombly's early relationship with Rauschenberg.. .Varnedoe reminds us that the two artists met in the spring of 1951 after Twombly moved to New York and entered classes at the Art Students league, where the slightly older Rauschenberg [born in 1925] was also enrolled. Varnedoe maintains that it was probably Twombly who turned Rauschenberg on to Schwitters, rather than vice versa. But it was clearly Rauschenberg who convinced Twombly to join him at Black Mountain College in North Carolina for the summer of 1951. At Black Mountain the young artist was exposed to the teachings not only of Ben Shahn, whom he emulated in his spindly graphic style, and Robert Motherwell, who was one of his strongest early defenders and wrote the first catalogue essay about him, but John Cage, Merce Cunningham, Charles Olson and Franz Kline.[2] A certain Cagean sense of flux, together with a kind of I Ching-influenced orientalism, would remain an undercurrent in Twombly's work, distancing it from the more purposeful and willfully heroic strokes of the Abstract Expressionists."

"But on longer consideration the artist's role [of Twombly] as teacher can be seen as part of his ivory-tower position, a stance of highly selective accessibility that he has cultivated over the years. Since the late '50s younger artists have sought him out in Rome, including Jannis Kounellis in the late '50s, Alighiero e Boetti in the late '60s and Francesco Clemente in the '70s. Brice Marden, having worked for Rauschenberg in the '60s, was early drawn into the Twombly circle. In the early '80s, Jean-Michel Basquiat, Donald Baechler, James Brown, Julian Schnabel and w:Terry Winters all learned much from his art. (Twombly will reportedly appear in the same area as [Terry] Winters and [Brice] Marden in the 1995 Whitney Biennial.) Ross Bleckner's signature '80s image of chandeliers doubles back to Twombly's lost chandelier paintings of the early '50s, which Rauschenberg described in an interview with Barbara Rose. Both Philip Taaffe and Michele Zalopany followed Twombly's expatriate steps to Italy, where they became friends of the artist. In the '90s Suzanne McClelland [see A.i.A., Oct. '94] and Pat Steir each defined her stance in relation to his work. Thus at least three generations of very different artists have studied at the 'School of Twombly'."

"I believe that animals have rights which, although different from our own, are just as inalienable. I believe animals have the right not to have pain, fear or physical deprivation inflicted upon them by us. Even if they are on the way to the slaughterhouse, animals have the right to food and water and shelter if it is needed. They have the right not to be brutalized in any way as food resources, for entertainment or any other purpose. … Finding a substitute for animals in research has only recently become an imperative in the scientific community. … One day animals will not be used in the laboratory. How soon that day comes depends on how soon people stop screaming and make the search for alternatives a major research imperative. As long as conferences on the subject sound like feeding time in the monkey house, monkeys along with millions of other animals are going to stay right where they are now — in the laboratory."

"Fundamentally, the camera is nothing more than a light-tight box, having an arrangement for holding a light-sensitive substance (plate or film) and a device (lens or pinhole) for projecting on this sensitive substance an image of objects external to the camera."

"We started shooting the film before they'd even come up with a working model of King Kong, it wasn't unusual for the wardrobe to be decided on the day before a scene was going to be shot - usually those things are worked out months in advance. We had a veteran crew, and our cameraman, Harold Wellman, had actually worked on the original 'King Kong' in 1933. It was my first movie, of course, and people would take me aside and tell me that no matter how many more movies I made, I'd never make another one like this"

"When I think back on Kong, that was like difficult too, because there was no reality in making that movie. There was so much that was left to my own devices and imagination. And when I had to play a scene opposite a 45-foot ape, that was bit taxing on your imagination because obviously there was nothing there, you know."

"I make sure that they photograph everything they do. And they have to have a portfolio to graduate. You know, there’s no formula for success out there, but what works is: learn how [to photograph], photograph everything you do and you put those photographs in front of people that can help hire you. That works."

"Love stories—yeah, there’s something about them. I cry when somebody does something good for somebody, not something horrible. I avoid all the horrible stuff. But to me, when a human being is sincerely generous, or kind or overly helpful to another human being, that’s when I tear up. I just love the idea of love."

"I love CGI when it’s done well. It may sound strange coming from me, because if you watch my stuff in movies it’s happening right in front of you, but I wish we had CGI back then to solve some problems. Getting rid of an edge or enhancing stuff, which is what they have today. I love it when it’s done well."

"Tom Savini Explains The Enduring Appeal of Zombies, In Film and On TV (March 14, 2014)"

"Technology is stuff that doesn’t work yet."

"In 250 years, reading and writing will have turned out to be a fad."

"“The Net, I guarantee you, really is fire. I think it’s more important than the invention of movable type.”"

"There's no Bits, like Show Bits"

"[On the need for ultra high definition television] The problem with television isn't the number of horizontal scanning lines. It's the lines of dialogue spoken by the actors."

"The Internet represents the greatest story telling technology since the development of language. It will be far more important than reading and writing as a purposeful tool. Everything that is enabled by story telling will be enabled by the Internet."

"Vibrant companies must put together five-year plans. But they must be willing to change these five-year plans every single year."

"The technology needed for an early Internet-connection implant is no more than 25 years off. Imagine that you could understand any language, remember every joke, solve any equation, get the latest news, balance your checkbook, communicate with others, and have near-instant access to any book ever published, without ever having to leave the privacy of yourself."

"A ‘good 10 percent’ of American products comes out of big-idea organizations that don’t believe in talking to the customer. They’re run by passionate maniacs who make everybody's life miserable until they get what they want."

"Being a successful inventor, starts with being curious, and asking the right questions."

"Trying to assess the true importance and function of the Internet now, is like asking the Wright brothers at Kitty Hawk if they were aware of the potential of American Airlines AAdvantage miles."

"Most products are ugly. The harsh reality is that in many of these markets, form follows funding. And that products go where the market takes them."

"It's disgraceful and embarrassing that the highest technology in a typical inner city high school in this country is the metal detector the students pass through at the front door."

"[Visionaries] not only believed that the impossible can be done, but that it must be done."

"We need to love [children] and help them discover their passions. We need to encourage them to work hard and help them understand that failure is a necessary ingredient for success, as is perseverance."

"Art and design are not luxuries, nor somehow incompatible with science and engineering."

"Great art isn't about decoration - it's a different language that can both touch our hearts, and open our minds."

"When the first alien spacecraft lands in Washington, I want the little green people to walk first into the National Gallery of Art. I want our art to explain who and what we are before our leaders do."

"The long, extended play sessions of my youth were essential to the creator I am today. It helped exercise those world-building and problem solving pathways in my brain, and in turn enabled access to those deep recesses of the creative mind. Like learning a second language, it sinks in more thoroughly when you start young."

"Arranging props in a scene such as this is a joy. With gravity on my side, everything at arms length and no arduous physical conditions constricting me, I can go for hours at a clip, sculpting piles of stuff into a landscape of intersecting shape, form and color until my eye wanders endlessly among the details. In such conditions, how the image is captured has little bearing on the success of the arrangement – though the time-saving work flow enabled by digital preview, capture and post processing, certainly helps."

"I had so many other interests at the time: drawing, tinkering, building, inventing, games, sports, climbing trees. It took me through high school, and then college to settle on photography. But a half-century later, I'm still staging my shots."

"I only know how to approach a place by walking. For what does a street photographer do but walk and watch and wait and talk, and then watch and wait some more, trying to remain confident that the unexpected, the unknown, or the secret heat of the known awaits just around the corner."

"Ultimately, the reward is the process - the process of photographing and discovering and trying to understand why and what am I photographing."

"Traditional photojournalists arrive with an idea of what they are going to produce or what the editor wants. I approach a subject very much as a street photographer and a wanderer, without preconceptions. I try to leave it extremely intuitive and exploratory."

"Three years after my first trip to Haiti, I realized there was another emotional note that had to be reckoned with: the intense, vibrant color of these worlds. Searing light and intense color seemed somehow embedded in the cultures that I had begun working in, so utterly different from the gray-brown reticence of my New England background. Since then, I have worked predominantly in color."

"In the mid 1970's, I began to be drawn towards places of cultural tension: borders, the edges of societies, worlds that have been transformed by an outside -- often northern -- culture. I was intrigued by the rawness, the tensions, and the emotional immediacy of the streets in these places."

"Happy first night of #Hanukkah my peeps. As I recite my blessings I'm thankful for all of the beauty in the world. I pray that we all come together as a human race and fight for the peace that this world so deserves. The very foundation of peace is respect and I respect & love you all deeply. (Except bigots... Yall can kiss my ass.) 🙌 #HappyHanukkah2014 #Blewish"

"That mask is a representation of this false idea of patriotism. And that mask is a representation of this idea of white male privilege, It's so much bigger than him. It's what he represents, and it's because of that representation, that's why he's the president of the United States currently."

"Shut the hell up you bitch ass nigga. You will continue to run this country further into the ground and risk lives every time you breathe. You’re not the president. Just a dumpster full of hate. FOH. Sick to my stomach that literal shit currently represents America to the world."

"Frauds are everywhere y’all. Protect the mind, heart and spirit of you and your people at all costs."

"It's the attackers, but also the attacks, It's not necessarily that you don't believe that this is the truth, you don't even want to see the truth."

"“I do, because I was there. For me, when that was released, I was like, ‘Okay, we’re getting somewhere.’ …I don’t have any doubt in my mind that that’s them. Never didn’t."

"While they attacked him for those beliefs, this attack should be an attack on us all"

"The racist and homophobic attack on Jussie Smollett is a horrific instance of the surging hostility toward minorities around the country."

"Jussie is my friend - a very talented & beautiful human being. It is so hurtful that homophobic haters would dare hurt someone so loving and giving. I'm dedicated to finding the culprits and bringing them to justice. Jussie did not deserve to be harmed by anyone!"

"@JussieSmollett is one of the kindest, most gentle human beings I know. I’m praying for his quick recovery. This was an attempted modern day lynching."

"New York State calls this attack on Jussie Smollett what it is — a hate crime. Homophobia and racism will not be tolerated"

"What happened today to @JussieSmollett must never be tolerated in this country. We must stand up and demand that we no longer give this hate safe harbor; that homophobia and racism have no place on our streets or in our hearts. We are with you, Jussie."

"This is a sickening and outrageous attack, and horribly, it's the latest of too many hate crimes against LGBTQ people and people of color. We are all responsible for condemning this behavior and every person who enables or normalizes it. Praying for Jussie and his family."

"The vicious attack on actor Jussie Smollett was an attempted modern-day lynching. I'm glad he's safe. To those in Congress who don't feel the urgency to pass our Anti-Lynching bill designating lynching as a federal hate crime– I urge you to pay attention."

"This is a truly awful hate crime that has no place anywhere in this nation. No one should be attacked because of the color of their skin or who they love. Jussie, please know that many people across IL and our country are sending love your way."

"The racist, homophobic attack on @JussieSmollett is an affront to our humanity, No one should be attacked for who they are or whom they love. I pray that Jussie has a speedy recovery & that justice is served. May we all commit to ending this hate once & for all."

"Police raided the home of two persons of interest in Jussie Smollett case last night. Both men are of Nigerian decent and have appeared as extras on the show. Police took bleach, shoes electronics and more.Officers asked family if they knew #Jussiesmollett. This information is according to family who says home was ransacked. I asked family why they think police picked the two brothers up for questioning and they replied by saying the men left for #Nigeria the day of the attack."

"You are not weak. You are brave. One of the bravest I know. Speaking your truth, a person living at the intersection of multiple identities, unapologetically, takes courage. I love you"

"As a victim of a hate crime who has cooperated with the police investigation, Jussie Smollett is angered and devastated by recent reports that the perpetrators are individuals he is familiar with. He has now been further victimized by claims attributed to these alleged perpetrators that Jussie played a role in his own attack. Nothing is further from the truth and anyone claiming otherwise is lying. One of these purported suspects was Jussie’s personal trainer who he hired to ready him physically for a music video. It is impossible to believe that this person could have played a role in the crime against Jussie or would falsely claim Jussie’s complicity."

"Smollett was convicted of a DUI and lie to police in 2007 according to court documents."

"That story is so crazy, Now it's coming out that he might have set it up or whatever so I wish I knew what the truth was because everybody's so quick to jump on one side or the other before the actual facts come out."

"Is there no decency to this man?"

"Mr. Smollett is still saying that he is innocent. Still running down the Chicago Police Department. How dare him, This sends an unambiguous message that there is no accountability and that is wrong."

"It's Mr. Smollett who committed this hoax, period. If he wanted to clear his name, the way to do that was in a court of law so that everyone could see the evidence"

"I hope he wins ... I'm happy for him that the system worked for him in his favor because the system isn't always fair, especially for people of color. So I'm glad it worked out for him. It's not my place or any other person's place to judge him or what not, but I'm glad the he's nominated I hope he wins because I'd be interested to hear his speech"

"He did tell police that from what he saw, he thought it was white or pale skin, that’s what he initially said, Obviously, you can disguise that. You can put makeup on."

"The malicious and wholly fabricated claim made by Mr. Smollett resulted in over 1,500 hours of police work that cost the city over $130,000 in police overtime... The city feels vindicated in today's ruling that he is being held accountable and that we will appropriately receive restitution for his actions."

"… I think maybe the rural influence in my life helped me in a sense, of knowing how to get close to people and talk to them and get my work done. That might have helped some...to try and get to know people and get to know all kinds of people better and investigate their ills and their prejudices and their goods and their evil…"

"That disadvantage sometimes pushes you, you know, if you use it right, because you want to rid yourself of those things that hurt you emotionally when you're coming up."

"I think that the film being made there did an awful lot to dispel that. For the first time there – well, for the first time in the United States – there was a black man riding in that big crane, and he was the boss of a mostly white crew, about 200 people. They looked at this at first in utter amazement and eventually they were proud of me, because I was a local boy. It was very prideful for the Negro kids."

"The boys of my gang – there were six or seven of us – none of them lived to be men, to be 21 years old, except one. All of them are dead from some violence or other, shot or cut to death before they were men, by white society…"

"No wonder you get a Rapp Brown, no wonder you get a Le Roi Jones, no wonder you get a Stokely Carmichael. But you can’t really compare these kids with me, because my time was beyond their time. Black studies, the identification with Africa emerging, has instilled a lot of pride in black kids. But the black kids on the campuses are suddenly asking for separate classes and segregated dormitories. I’ve said to them, ‘Black people have fought and died that you might be here. These white kids will be the next leaders, and will reshape your lives for the next 200 years unless you get in the classrooms with them and help’."

"Once you're directing, you're kind of in a certain mode, where you're taking whatever is on the page and forming it into the film that you think it might want to be. So whether it's my writing or not, I still try to work with it in the same way."

"For me it was a lot like using music. I used it when I felt that it was right, when I felt like it was time."

"I grew up on the experimental cinema coming out of New York and San Francisco in the ’50s, ’60s and ’70s."

"Elephant, which won the Palme d'Or at Cannes last year, is Van Sant's masterpiece."

"I've stayed in touch with Gus over the years, and there have been a couple of things that were looked at, but never quite worked. But I was always interested in working with him again, because he was so instrumental in the kind of actor I am. I worked with him at a really crucial part of my career. I hadn't worked since I was a kid, and then I worked when I was 19 years old. He really changed the way I thought about acting. So I was really eager to work with him again. The process was incredible. In some ways, it was like being back in '95 or whenever it was."

"It was such a privilege to work with Gus — a true luxury for me, as watching ‘My Own Private Idaho’ almost 30 years ago was an eye-opener for me, it made me understand who I am in a delicate way."

"Populations of some North American insectivorous bats are known to have declined markedly in many areas over the past 20 years or more ... The causes and rates or extent of decline rarely are well documented."

"It's very simple: We fear most what we understand the least."

"More than 1,100 kinds of bats amount to approximately a quarter of all species, and they are found everywhere except in the most extreme desert and polar regions. Some 47 species live in the United States and Canada, but the majority inhabit s where, in total number of species, they sometimes outnumber all other mammals combined. Bats come in an amazing variety of sizes and appearances. The world's smallest mammal, the of Thailand, weighs less than a , but some es of the Old World tropics have wingspans of up to 6 feet. The big-eyed, winsome expressions of flying foxes often surprise people who never have thought that a bat could be attractive."

"In s, cold winters force bats to migrate or . Most travel less than 300 s to find a suitable cave or abandoned mine, where they remain for up to six months or more, surviving solely on stored fat reserves. However, several species are long-distance migrators, traveling from as far north as Canada to the or Mexico for the winter. A few species can survive short-term exposures to subfreezing temperatures, enabling them to overwinter in cliff faces or in the outer walls of buildings."

"Bats are among the few true hibernators. The breathing of a hibernating bat is imperceptible. Its heartbeat drops from roughly 400 beats per minute when awake to about 25 in hibernation. The body temperature often falls to within a tenth of a degree of surrounding cave walls."

"My trap consisted of two six-by-five aluminum frames with hundreds of vertical fishing lines strung between them. It looked like a harp, but with adjustable legs to support it a few feet off the ground and a canvas bag hanging below to hold captured bats. This device, which I had recently invented, was capable of catching thousands of bats per night, enabling me to sample and release large numbers without harming them."

"A photograph is a secret about a secret. The more it tells you, the less you know."

"My favorite thing is to go where I've never been."

""Our whole guise is like giving a sign to the world to think of us in a certain way, but there's a point between what you want people to know about you and what you can't help people knowing about you. And that has to do with what I've always called the gap between intention and effect."Goldman, Judith."

"Freaks was a thing I photographed a lot....There's a quality of legend about freaks. Like a person in a fairy tale who stops you and demands that you answer a riddle. Most people go through life dreading they'll have a traumatic experience. Freaks were born with their trauma. They've already passed their test in life. They're aristocrats."

"I do feel I have some slight corner on something about the quality of things. I mean it's very subtle and a little embarrassing to me, but I believe there are things which nobody would see unless I photographed them."

"It's always seemed to me that photography tends to deal with facts whereas film tends to deal with fiction. The best example I know is when you go to the movies and you see two people in bed, you're willing to put aside the fact that you perfectly well know that there was a director and a cameraman and assorted lighting people all in that same room and the two people in bed weren't really alone. But when you look at a photograph, you can never put that aside."

"Everybody has that thing where they need to look one way but they come out looking another way and that's what people observe. You see someone on the street and essentially what you notice about them is the flaw."

"They are the proof that something was there and no longer is. Like a stain. And the stillness of them is boggling. You can turn away but when you come back they'll still be there looking at you."

"I never have taken a picture I've intended. They're always better or worse."

"For me the subject of the picture is always more important than the picture. And more complicated. I do have a feeling for the print but I don't have a holy feeling for it. I really think what it is, is what it's about. I mean it has to be of something. And what it's of is always more remarkable than what it is."

"Nothing is ever the same as they said it was. It's what I've never seen before that I recognize."

"I work from awkwardness. By that I mean I don't like to arrange things. If I stand in front of something, instead of arranging it, I arrange myself."

"She was really terrific...Diane was one of the first female role models I ever had that didn’t wash the floor six times a day. I liked her as a teacher."

"I am an open-minded skeptic. I never go in thinking these things are there, but neither do I discount them out of the gate. I think there’s a number of stories we’ve investigated where I’ve walked away and thought, “Maybe there’s something going on there.”"

"I'm a big believer in that part of the experience, you know? If you talk to anybody about travel, just personally, so much of what they'll tell you about any trip is the mechanics of the trip. How the flight was, what went wrong, what went right, how they got stranded at that train station. One of the things that always struck me as kind of strange about travel-themed TV is how glossy it all is, ya know, which really doesn't match our experiences. That's fine if you're doing an aspirational, you know, "world's greatest pools" kind of thing or something, but you know for us, the journey is the expedition, right?"

"I called this doctor who was taking care of Rock Hudson. He said: ‘Do you have to kiss the actor?’ I said: ‘Yeah, it’s important in the script.’ He said: ‘Then I wouldn’t do the play.’ [Grey wrestled with it and chose the play and the kiss] I said: ‘I need to tell this story. As an actor it’s my job.’"

"Stick with it, be who you are. It’s going to be tough…But it’s also going to be beautiful."

"I had to find out the psychology [of the Emcee] and who he was off stage so that hopefully I could bring that biography into those numbers.."

"We gotta ... rip Trump right out of that office right there We ain't about .. waiting until the next election. It's time for revolution."

"An armed revolution is the only way to bring about change effectively. I can tell you that the dynamics completely shifted when shots can be fired back. In this photo, I was met by 50 armed police officers at the Utah State capital. #BlackLivesMatter #BLM #Fuck12 #Acab"

"Fuck The System - Time To Burn It All Down. #blm #antifa #burn #fuckthesystem #abolishcapitalism #abolishthepolice #acab #fucktrump"

"There was a crowd of about, I would say, more than 50,000 people just at the Capitol base trying to get in"

"Come on. Let’s go! We’re all part of this (expletive) history 2021! (expletive) This is insanity. I am shook. What is this? What is this painting, you know? King (expletive) bro (expletive)! Is this not going to be the best film you’ve ever made in your life? This is surreal. This is real life, though. This seems like a movie. This is a revolution. You guys treasure this moment. This is history."

"When you’re in a massive crowd like that, you have to blend in. As far as them storming the Capitol, I knew that was going to happen I’m on chats that are underground that are sending out flyers that are just like, ‘Storm all Capitols on the 6th.’ It wasn’t anything that was secret. It was something that was out there ... and they did it. I have video of it, I am hesitant to post it. It’s something I have to take in. I hope that people get a grasp of that situation. Whoever shot her, maybe should be held accountable. I guess that’s up to the law to decide."

"He has admitted that he has no press credentials and the investigation has not revealed any connection between SULLIVAN and any journalistic organizations."

"The perception is that new equipment can make a diver relatively safe. I know people with the fanciest equipment including their “wrist watch”, but they are not necessarily good divers. There is a great gap between diver ability and equipment."

"Keep diving and get really good at it. Too many folks try many other activities and don’t get good at any of them."

"We never thought we could or would return to Vietnam. It was almost 20 years before the possibility arose. Memories are ever shifting when you live in exile."

"Landscape, at its best, is not a narrow category. It is a source of surprise. It allows for the sudden assertion of a place, like an unexpected time signature within a melody."

"One thing great journalists and artists have in common is a desire to be surprised, to find yourself with way more than you bargained for when you began an inquiry with little more than a sense of intuition."

"I am acutely aware of the complex role Vietnam plays, as both history and myth, in the country I have adopted as my own and in the culture I have raised my children. I can’t say I embrace every American characterisation of Vietnam. But I see the Hollywood clichés, the lasting psychic scars and even the cheap fetishes as expressions of something very real and very human. Vietnam remains an unavoidable and unresolved subject. As history, place and subject, it is still unfolding."

"I certainly want to give my viewer the ability to “step into” an image and have a physical and mental experience, so it is necessary that the print be large enough; for me, that’s fifty to sixty inches wide, which is rather modest."

"Biography can be a red herring in visual art. For writers it’s a genre and a process. They organize life stories, and I imagine that the craft of biography or autobiography is largely about organizing facts in a compelling way. For me, biography is interchangeable with curiosity. My story has been valuable to my work only because it provided me with intense curiosity about certain situations, places, and sensations."

"While my return to Vietnam was intensely emotional, connecting to the landscape allowed me to disengage somewhat and gain perspective. I wanted to show Vietnam in a way I had not seen it shown before—not devastated, not victimized, not romanticized. I felt I could do that best through my exploration of the landscape."

"I have always been terrified by the idea that my photographs would be “just” beautiful. Beauty is often seen as lacking in substance. Over time, I have become confident in my ability to apprehend situations that are defined by a kind of complicated beauty, when you are pulled in by the beauty but also pushed back by something problematic."

"The one constant in my life is the landscape, in a broad sense of the word. I love the openness of the land and worry about how we’ve built our lives upon it, how little we maintain it, and how we assault it. It’s one reason for me to want to photograph it."

"At this time of crisis, I find great comfort in returning to nature, the wilderness, the richness and vast scale of the land. It has shaped the American identity; circling back to the landscape gives me hope for the future."

"I think anyone can make one, two great photographs. It is the endeavor, the sustained effort and exploration of an idea or a subject that is more significant."

"Most art photographers understand and often benefit from or engage with the fact that their medium plays a role in journalism, as evidence, propaganda…this is something we know. But the ambitions of the grey areas of subjectivity and experimentations one finds in photography is what I relate too. Color brings my work dangerously close to photojournalism. I rely on the tension between the objective and subjective within a picture to complicate a photograph. I also depend on a carefully crafted sequence of images in a sort of “essay” form to explore a complicated subject."

"Art is always made against the backdrop of politics. Artists think historically. They think about the history of art, the history of their medium, they think about their personal history. Politicians should do more of that. At the current moment it seems that the aesthetics and artistry within how each political party or ideology is presented is vigorously critiqued."

"I feel that the early part of my life was dictated by American foreign policy. This idea of human lives being caught in a much larger web of uncontrollable events was impressed upon me so the notion of scale have always been important to me. My interest in human endeavor or culture within the larger context, within the landscape has been a continuing foundation for my work."

"I always take it one step at a time. I see each new project as a response to a certain dissatisfaction, to unanswered questions from the previous work. As we experience life, we change overtime and develop different concerns. Teaching, becoming a parent, losing a parent are some of the important markers that have influenced my work."

"The topic of the military raises questions in ways that other topics would not. There are photographers who have dealt with extreme poverty, or who have photographed horrific labor conditions, and they are not held accountable in the same way. They aren’t asked: what do you think of poverty? But the question of the military is so complicated that it riles up people’s opinions."

"I think artists deal with something messy, and they keep it messy. Which is frustrating for people, especially when it comes to topics in which everyone has an opinion. I think we do move the conversation forward, but I also like to keep it messy. It is not a math problem. In a way, we should approach these topics in the way one would write an essay."

"I do use the phrase “to take a picture,” but I think my work involves labor. It is a certain reworking of what you see and of the facts, in order to create this new fiction. It is certainly a making, a transformation."

"For me, the landscape has always been the constant in my work. I work with scale as a way to give context to human endeavors, military endeavors, and the history of power. In the end, Vietnam has endured many battles and gone through so many changes. The Chinese invasion, the Japanese occupation, the colonialism of the French, the Indochina War, the Americans—the constancy was always the landscape. And people change, cultures change over time, but there is something about the land. Even as our world modernizes, there is a certain consistency, a certain authenticity."

"I think at sea, it is always about some greater force. The forces of the weather, the sky, the wind, all these uncontrollable things, you really feel the greater force of nature. But at the same time, you are on this massive aircraft carrier that costs about one million dollars a day to run! You really see that tension between the natural world and the force of technology. I think for me, the sublime is always a tension of something that you can’t quite control. It creates these emotions in you that are rare, and that make you aware."

"Rather than whether or not there is a future for combat photography, I think one of the big differences now is the role of the civilian—the amateur photographer. Conflicts will always be newsworthy, someone will always need to be there to document. Now the technology is such that anyone can be there and take a quick picture, post it, and send it out to the world. In these pictures you don’t look at the artistry anymore—if there is such a thing—it is just information."

"War photographers were always placed on a pedestal. They put their lives at risk. Of course it is still very dangerous, but it also seems that now, there could just as easily be a civilian taking the picture. Maybe it is less a question of whether war photography will continue, and more a question of whether this idea of the heroic, self-sacrificing combat photographer will live on."

"I photograph to see what things look like photographed."

"What I write here is a description of what I have come to understand about photography, from photographing and from looking at photographs. A work of art is that thing whose form and content are organic to the tools and materials that made it. Still photography is a chemical, mechanical process. Literal description or the illusion of literal description, is what the tools and materials of still photography do better than any other graphic medium. A still photograph is the illusion of a literal description of how a camera saw a piece of time and space. Understanding this, one can postulate the following theorem: Anything and all things are photographable. A photograph can only look like how the camera saw what was photographed. Or, how the camera saw the piece of time and space is responsible for how the photograph looks. Therefore, a photograph can look any way. Or, there's no way a photograph has to look (beyond being an illusion of a literal description). Or, there are no external or abstract or preconceived rules of design that can apply to still photographs. I like to think of photographing as a two-way act of respect. Respect for the medium, by letting it do what it does best, describe. And respect for the subject, by describing as it is. A photograph must be responsible to both."

"I hate the term. I think it’s a stupid term, “street photography.” I don’t think it tells you anything about a photographer or work. I have a book out called The Animals, so call me a zoo photographer? Doesn’t make any sense to me."

"Guinevere van Seenus, who I have photographed for more than 20 years, was one of the most important muses. Delicate but decisive, masculine but feminine, a hymn to creativity, imagination and dreams. (Paolo Roversi)"

"The myth makes it bigger but when you go in there, you know where you are. I've been in many places bigger than that and it ain't the same."

"You can take a good picture of anything. A bad one, too... I want to make a picture that could stand on its own, regardless of what it was a picture of. I've never been a bit interested in the fact that this was a picture of a blues musician or a street corner or something."

"William Eggleston, the pioneer of colour photography shocked the art world in 1976 with his exhibition at The Museum of Modern Art in New York and his accompanying book, William Eggleston's Guide. The exhibition validated colour photography as a legitimate artistic medium. Alongside his friends and Gary Winogrand, Eggleston is regarded as one of the most inventive and radical photographers of modern times. His reputation continued to grow with the publication of The Democratic Forest in 1989, an epic drawn from, over ten thousand prints, with, an introduction by Eudora Welty. It was described by The New York Times as the first masterpiece of colour photography. Eggleston has always lived in Mississippi and Memphis. His work is deeply rooted in the South, but he transcends the label of Southern artist. His range is international. This book, published to coincide with an exhibition originating at Barbican Art Gallery in London, is the first time work from his whole career has been gathered to form a coherent sequence. It follows a course of ancient and modern from Mississippi to Louisiana and into Elvis Presley's mansion Graceland, through the oil rigs in Tennessee and the orchards of the Transvaal, to the slopes of Mount Kenya and down the Nile, with the collection ending on the lyrical imagery of the English rose. The cumulative effect of Eggleston's startling work reinforces his reputation as a major American artist, whose significance extends beyond the world of photography."

"Eggleston was a man of his time, the 1960s. In the 1960s, street photography was at its zenith, and Pop Art dominated painting and sculpture. Eggleston fused elements of both street photography and Pop Art into his oeuvre. Like Lee Friedlander, Garry Winogrand, and Stephen Shore, Eggleston shot from the hip, blending the new apolitical snapshot aesthetic with the older and more traditional stylings of Cartier-Bresson."

"I believe that the Cuban Revolution was one of the great political events of the 20th century, and the fact that it exists today in the face of so many obstacles and problems is extraordinary."

"I am against censorship wherever and however it raises its head, and I am always disappointed when I see a government concerned with justice exercise censorship in any form."

"I believe that my years of doing oral history have helped me pay attention to people’s voices, and this consciousness often shows itself in my poetry."

"The two revolutionary societies I’ve lived in are Cuba, during the second decade of its revolution, and Nicaragua during the first four years of Sandinism. In both places, I learned an enormous amount, mostly about what it means to attempt to construct a truly egalitarian life for people. Access to universal healthcare, decent housing, free education, a fair justice system, and experiments aimed at improving life for all members of society was important as I raised four children and watched them go through school and become self-sufficient adults. In Cuba, there were shortages, and food and clothing rationing was pretty severe in the years we were there. But I can’t remember ever feeling this was a problem. Rather, it felt good to know that what was needed was spread among everyone."

"revolutionary processes, like all civic experiments, are made by human beings, some notably more interested than others in true equality. So, I also learned how easy it is for problems to arise and for revolutionary ideas to be sidelined."

"Activism and feminism both draw on the imagination, requiring taking risks and thinking outside the box. This is the very definition of poetry."

"I discovered feminism in Mexico, at the end of my time there, when the first articles from US and European feminists began to appear...Feminism wasn’t academic theory to me, but something to be lived. I needed it."

"my mothering was circumscribed in two ways: as a revolutionary involved in trying to make the world a better place for all children, and as a feminist who demanded from my partner equal involvement in household tasks, and wanted to imbue my children with those values as well–my son as well as my daughters."

"all in all, I think we revolutionaries of the 1960s, ’70s, and ’80s gave our children love and a sterling set of values."

"I experienced Cuban society as exhilarating, exciting, and amazing. I loved being part of a project that was making itself from the inside out. I felt privileged to be living in a place where real equality seemed to be the collective goal. I thrilled to meetings in which drafts of new law were discussed, and my neighbors or colleagues and I could have input into those laws. I also felt privileged, especially as a mother, to live in a society that saw health and education as basic human rights, and that was developing an outstanding system of universal health care that freed me from worry when my children were ill."

"revolutionary–as I understand that word. That is to say, more inclusive, more outspoken, more creative, more of a reflection of what we all hope the new man and new woman will be."

"The McCarran-Walter clause under which I was charged was popularly referred to as “the ideological exclusion” clause. My deportation order stated that my work was found to be “against the good order and happiness of the United States.”"

"Walking to the edge is what I've done most of my life. Walking to the edge: taking conscious risk. Calling up, even in the most difficult of circumstances, this courage of vulnerability. Honoring process, a profoundly female business. So engaged, I have often felt painfully alone. Then, in instant recognition and warmed by its consequent explosion of tenderness and life, there is the presence of that millennia of sisters. Sisters, as well, in the here and now. And yes, also brothers. If I have learned little else, I have learned that I have no choice but to walk again and again to the edge. Because there is no choice, and because there are so many of us walking out here, I am not alone. There is challenge and also a steadiness in our discovery."

"More than a decade ago, in the introduction to another book, I said that socialism and feminism need one another. Now I would add that we must work hard, individually and collectively, to reunite body and mind-and learn about the ways in which they work together-for the health of our planet, our society, ourselves. Through these years which have proven so difficult and discouraging for the socialist dream I continue to nurture, this seems more than ever important."

"We must reclaim our voices in order to create the women (indeed, the people) we must be: no more conditioned dichotomy between emotions, mind, and body; no further need for the fragmented or reactive response."

"I deeply believe in the importance of language, that we must retrieve ways to say what we mean, assign responsibility, give the perpetrators as well as the victims and survivors first and last names. We must teach ourselves how to use language powerfully; only then will its reclaimed and highly charged memory enable us to create ourselves into the world of equality and justice we so urgently need. I'm not talking about vision without work. Bumper stickers like "VISUALIZE WORLD PEACE" annoy me. It's not enough to see with the eye-even the mind's eye."

"One of the things that has happened to me out of experience and out of revolutionary practice is coming to the conclusion that people are human beings.People are good and bad everywhere. Five years ago I was a much more schematic person. In that sense I've changed a lot."

"I was completely captivated by seeing a new revolution. I had read Marx and Lenin but I was heavily impressed by the human aspect of seeing people with dignity."

"I had to learn to fit my desire to be successful, well known, famous, and my desire to get my message across, how to fit this into service of the revolution without that meaning that I was just writing pamphlets...It was a struggle to maintain my integrity. And it was a very intense experience. What does it mean to write for The People?...I feel one must take sides in a struggle. What is that terrible phrase in the bourgeois language, 'I disapprove of what you say but I will defend to the death your right to say it.' Well, I hate that. One has values in life and they are what they are."

"It is very important not to be overly romantic about revolution...There is a tendency in capitalistic countries to think of revolution as a schematic thing, forgetting that revolutions are made by people and that there are a lot of contradictions. Well, there are a lot of problems here, underdevelopment, housing, education. The exciting thing is to see them make mistakes and try again. I love it so much more for being able to criticize it and see it for what it is. I love it so much I don't want people to be romantic about it."

"What I want out of life, is to contribute as much as possible to make a better world."

"Margaret Randall has suggested that the socialist movements in Latin America and the Caribbean were impeded by "the failure to develop an indigenous feminist discourse and vital feminist agenda"...Randall puts it categorically: "If a revolution is unable or unwilling to address the needs of all people, it is doomed to failure.""

""personal wholeness and political health... must be rewoven into a single fabric. They cannot be separated," writes Randall."

"the status quo still fears what she and writers like her have to offer: a clear, strong, articulate commitment to socialist and feminist values, with a call to action for the establishment of those values as a way of life. She is dangerous to the interests of the tiny elite who run this country-and for that we should be thankful."

"...one of America's rebellious daughters. She makes a powerful witness."

"Margaret Randall is one of our finest, most thoughtful and articulate, and impassioned and compassionate writers. She is fearless, and a great voice for reason and hope despite seemingly desperate times."

"In writing about Margarita and Julia, I received a sign in the fall of 1986 that these poems were complete and ready to emerge. I met two women poets who have these names and who have had an impact in my life: Margaret Randall and Julia Alvarez."

"Randall's writing fuses her commitment to revolutionary change with her remarkable poetic sensibility."

"When nothing seems to help, I go and look at a stonecutter hammering away at his rock, perhaps a hundred times without as much as a crack showing in it. Yet at the hundred and first blow it will split in two, and I know it was not that blow that did it—but all that had gone before."

"I suddenly feel a vague pity for all those writers who have to ply their trade from sleepy American suburbs, writing divorce scenes symbolized by the very slow washing of dishes."

"I have mentally rehearsed a reaction for a possible encounter with such corruption at the airport in Lagos. But to walk in off a New York street and face a brazen demand for a bribe: that is a shock I am ill-prepared for.”"

"Hey, hey young guy, why trouble yourself? They'll take your money anyway, and they'll punish you by delaying your passport. Is that what you want? Aren't you more interested in getting your passport than trying to prove a point?"

"I have taken into myself some of the assumptions of life in a Western democracy—certain ideas about legality, for instance, certain expectations of due process—and in that sense I have returned a stranger.”"

"Help us fight corruption. If any employee of the consulate asks for a bribe or tip, please, have a discreet word with the Consul General"

"Policemen routinely stop drivers of commercial vehicles at this spot to demand bribe"

"thousands of cars over the course of a day would pay toll at the informal rate, lining the pockets of the collectors and their superiors"

"the hardest thing to deal with, after weeks of constant power cuts, is the noise of the generators"

"the moment there is a power cut"

"Precisely because everyone takes a shortcut, nothing works and, for this reason, the only way to get anything done is to take another shortcut.”"

"Church has become one of the biggest businesses in Nigeria… these Christians are militants, preaching a potent combination of a fear of hellfire and a love of financial prosperity…"

"Abuja, Nigeria’s capital city, rises out of the Sahel like a modernist apparition. The avenues are clean and broad and the government buildings are imposing, with that soulless, vaguely fascistic air common to all capitals cities of the world…"

"while the buildings and roads of the capital city suggest a rational, orderly society, the reality is the opposite"

"And so when I began to go on evening walks last fall, I found Morningside Heights an easy place from which to set out into the city."

"And again, the empty space that was, I now saw and admitted, the obvious: the ruins of the World Trade Center. The place had become a metonym of its disaster."

"Blacks, ‘we blacks’ had known rougher ports of entry [...] This was the acknowledgement he wanted, in his brusque fashion, from every ‘brother’ he met."

"Action led to action, free of any moorings, and the way to be someone, the way to catch the attention of the young and recruit them to one's cause, was to be enraged. It seemed as if the only way this lure of violence could be avoided was by having no causes, by being magnificently isolated from all loyalties. But was that not an ethical lapse graver than rage itself?"

"I became aware of just how fleeting the sense of happiness was, and how flimsy its basis: a warm restaurant after having come in from the rain, the smell of food and wine, interesting conversation, daylight falling weakly on the polished cherrywood of the tables. It took so little to move the mood from one level to another, as one might push pieces on a chessboard. Even to be aware of this, in the midst of a happy moment, was to push one of those pieces, and to become slightly less happy."

"WE EXPERIENCE LIFE AS A CONTINUITY, AND ONLY AFTER IT FALLS away, after it becomes the past, do we see its discontinuities. The past, if there is such a thing, is mostly empty space, great expanses of nothing, in which significant persons and events float."

"To be alive, it seemed to me, as I stood there in all kinds of sorrow, was to be both original and reflection, and to be dead was to be split off, to be reflection alone."

"Sometimes it is hard to shake the feeling that, all jokes aside, there really is an epidemic of sorrow sweeping our world, the full brunt of which is being borne, for now, by only a luckless few."

"EACH PERSON MUST, ON SOME LEVEL, TAKE HIMSELF AS THE CALIBRATION point for normalcy, must assume that the room of his own mind is not, cannot be, entirely opaque to him. Perhaps this is what we mean by sanity: that, whatever our self-admitted eccentricities might be, we are not the villains of our own stories. In fact, it is quite the contrary: we play, and only play, the hero, and in the swirl of other people's stories, insofar as those stories concern us at all, we are never less than heroic."

"I became aware of just how fleeting the sense of happiness was, and how flimsy its basis: a warm restaurant after having come in from the rain, the smell of food and wine, interesting conversation, daylight falling weakly on the polished cherrywood of the tables.”"

"Each neighborhood of the city appeared to be made of a different substance, each seemed to have a different air pressure, a different psychic weight: the bright lights and shuttered shops, the housing projects and luxury hotels, the fire escapes and city parks.”"

"I couldn't remember what life was like before I started walking.”"

"There’s strong leftist support for Palestinian causes in the United States. Many of my friends in New York, for example, think that Israel is doing terrible things in the Occupied Territories."

"Did the Palestinians build the concentration camps? He said. What about the the Armenians: do their deaths mean less because they are not Jews."

"the next Edward Said! I was going to do it by studying comparative literature and using it as a basis for societal critique."

"They gave no reason. They just said I would have to submit another one in twelve months. I was crushed. I left school. Plagiarism? The only possibilities are either that they refused to believe my command of English and theory or, I think this is even more likely, that they were punishing me for world events in which I had played no role. My thesis committee had me on September 20, 2001..That was the year I lost my illusions about Europe."

"I climb for pleasure, for the wonderful views and the vigorous exertion, for the relaxation of a complete change for mind and body, and because of the inspiration to the spirit. To combine exploration with must, no doubt, so increase the interest as to well repay the augmented difficulties. All I would emphasize is that to climb anywhere repays the effort, even if it must be within reach of civilization and where others have gone before. To me there is ample reward in the uplift of the spirit; in the moral discipline, the keen interest, and the training to think, of a hard battle carefully planned, in the satisfaction of a love of adventure, and in the invigorating physical exercise."

", 16,140 ft., and latitude 61º 44', is within 60 ft. of the highest of the . The completion of the , 196 miles long, from to the famous of the , in April, 1911, brought Mt. Blackburn tow within 35 miles of civilization. I had gone to Alaska merely to see the wonderful scenery, of the southwest coast, by boat and train, and because I wished to see the only remaining pioneer region of America. Knowing that I should find no Swiss guides in Alaska, I had no idea of doing any serious mountain climbing. Indeed, it was late in July that I first read of Mt. Blackburn, by chance, in a prospector's cabin, in the wilds of the Kenai Peninsula, where I was hunting for a big brown bear. There, in a Report of the United States Geological Survey, Mt. Blackburn was mentioned as never having been ascended, and as "worthy of the hardiest mountaineer.""

"... my mother got a phone call from Dora one day. And it was in 1948. And she said to my mother, "Have you decided who you are going to vote for in the for ?" And my mother said, "No, I haven't." "Well," she said, "I'll be up to talk to you about it." And my mother was one vote. And she drove from all the way to for one vote."

"April, 1912, found her back again at , where she met George W. Handy, in whom she had confidence, and invited him to join the party. With six other men and dog sledges they started up on the 22nd. This time she was determined and would not be stopped if it were humanly possible to succeed. Thirty-three days altogether were spent on the snow and ice, 22 without tents and 10 almost without food. Caves dug in the snow provided shelter up to 12,000 feet. From there, in weather clearing after a succession of severe storms, she and Handy reached the summit on May 19, 8:30 a.m. It had taken four weeks. The view was perfect in every direction for up to 200 miles. The return took three days to Base Camp and two more to ."

"On May 19, 1912, after 27 days of climbing, Dora (one month shy of her 41st birthday) became the first person to reach the top of Mount Blackburn. When she got home, people flocked to her lectures and photo presentations about her climb. She used her platform to advocate for women’s rights and philanthropic causes. ... END NOTE: In the 1960’s, determined that the highest summit of Mount Blackburn wasn’t actually the eastern side that Dora (and George) climbed but the Western peak which is taller by 200 feet. However, the eastern route is much longer and harder, so many guides today still give her credit for this first ascent."

"Keen's experience on inextricably linked her with the . In 1914 she returned to explore the in , hiring the plucky Handy, a local sourdough, and a topographer from Boston. The later named a section of the near the Harvard Glacier the Dora Keen Range. Keen wrote and gave lectures about her expeditions. She wanted to reach out in particular to other women."

"I am glad you ran a thread through these works. Maybe it’s just that things are more interesting where worlds intersect. Whether this is where the water’s edge meets the land or when the circus rolls into a small town. On the edge is where relationships and juxtaposition can be complicated and hopefully more visually interesting."

"I do tell myself when working technically that I’m working on the edge. For some reason, I like to come up with elaborate schemes to produce images. These seem like great ideas in my head, but often in practice don’t work out."

"My equipment tends to be more on the edge, also. Cameras with multiple lenses and shutter, hand held 5×7 and 8×10 cameras, pinhole and fingerprint cameras."

"I had done the airshow as straight black and white to print. I probably shot the show ten years in a row. I was trying to move beyond the straight prints and I was thinking more about the real sculptural affect that the contrails make as the airplanes were flying. I was trying to make a more three-dimension effect for the images. I started shooting it with a 5 x 7 camera, knowing that I wanted to do some contact prints, originally thinking that they might be platinum, or something like that. I was at an antique image show in Chicago and ran by an Orotone print that someone was selling. Not knowing if I had ever seen one before, I was pretty blown away by it. I asked the seller, What is this? and he said, An Orotone print. And I asked him, How do you make these? And he looked at me and he said, How would I know?"

"The three dimensional affected me but I also liked that it was an older process that gave a classic, vintage look to the image. It took me a couple of years to figure it out. I did a lot of research on Orotones and tried to find out how they are made and learned there is no written recipe. With experimentation, I made several Orotones and then took them from there. It has a kind of granular effect, playing with the gold powder, there’s a metallic feel to it. All these things work together to make the image really interesting."

"Whilst the old still occupied the , they were attacked by the to avenge the supposed death of a priest who had been sent among them as a missionary many years before. The priest, feeling himself entirely forgotten by his own people, had identified himself with those among whom he had dwell so long. Apprised of the approach of the hostile Spaniards, the Indians prepared to defend themselves with huge stones to be hurled among the enemy should they attempt to scale the mesa by the only practicable pathway up the almost perpendicular face of the cliff. But when the cause of the hostile demonstration became known to the Indians, the priest in the absence of paper on which to write, scraped a smooth and wrote upon it a message to the attacking party. The skin was fastened to a large stone and thrown down into the valley. Upon this information of the safety of the priest, the Spaniards retired, leaving the Indians undisturbed. This tradition is very similar to the account given in ’ ”Conquest of Mexico,” of 's attack upon , and this author states that "beyond doubt ancient Zuñi and Cibola were the same Pueblo.""

"The children are industrious and patient little creatures, the boys assisting their elders in farming and , and the girls performing their share of domestic duties. A marked trait is their loving-kindness and care for younger brothers and sisters. Every little girl has her own water vase as soon as she is old enough to accompany her mother to the river in capacity of assistant water-carrier, and thus they begin at a very early age to poise the vase, Egyptian fashion, on their heads."

"The long winter nights were devoted by the to the ceremonies of their secret fraternities, exhorting their most benevolent gods; rain priests in retreat invoked their anthropic deities for rain to fructify the earth, and elders taught the youths, sitting attentively at their knees by the flickering firelight, the mysteries of their life and religion. Of all the secrets of their lives none is more strictly guarded or more carefully transmitted than the knowledge of healing. The "doctor" instructs in the lore of plants, and the relation of plants to man and beast."

"(quote from p. 36)"

"While it was generally observed by early travelers among the , that they employed plants for medicinal purposes, it was long believed, even by scientific students, that the practice of Indian doctors was purely . The late Dr. , however, declared from the beginning of his ethnological investigations that the Indians employed many plants of real value in medicine."

"There is work that profits children, and there is work that brings profit only to employers. The object of employing children is not to train them, but to get high profits from their work."

"While photographs may not lie, liars may photograph."

"If I could tell the story in words, I wouldn’t have to lug a camera."

"I feel like I am floating in plasma I need a teacher or a lover I need someone to risk being involved with me. I am so vain and I am so masochistic. How can they coexist?"

"Am I in the picture? Am I getting in or out of it? I could be a ghost, an animal or a dead body, not just this girl standing on the corner…?"

"You cannot see me from where I look at myself."

"Real things don't frighten me - just the ones in my mind do."

"This action that I foresee has nothing to do with melodrama. It is that life, as lived by me now, is a series of exceptions. I was , or am, not unique - but special. This is why I was an artist. I was inventing a language for people to see the everyday things that I also see, and show them something different. Nothing to do with not being able 'to take it' in the big city, or with self-doubt or because my heart is gone. And not to teach people a lesson. Simply the other side."

"Another year of dishonesty"

"I think that there is a huge disparity in Los Angeles, as there is in the US in general, between the wealthy and the not-so-wealthy, the haves and the have-nots. And so many of the areas in which I photograph are areas where there are the have-nots."

"I was told that if there weren't any power wires, I wouldn't have a body of work. I tend to use them on a regular basis in designing my pictures. They're wonderful for filling the sky."

"The city is a place where people feel free to do and be whatever they want."

"In the dry places, men begin to dream. Where the rivers run sand, there is something in man that begins to flow. West of the 98th Meridian—where it sometimes rains and it sometimes doesn't—towns, like weeds, spring up when it rains, dry up when it stops. But in a dry climate the husk of the plant remains. The stranger might find, as if preserved in amber, something of the green life that was once lived there, and the ghosts of men who have gone on to a better place. The withered towns are empty, but not uninhabited. Faces sometimes peer out from the broken windows, or whisper from the sagging balconies, as if this place—now that it is dead—had come to life. As if empty it is forever occupied."