"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."

"In love with the money, I ain't ever letting go"

"Have you ever had a dream so real That you felt the life you live was fake"

"And right after we sex, I don't leave I just hold her I don't leave, I just hold her"

"My niggas stack their money just to spend it 'Cause, when you die, you cannot take it with you"

"Name another nigga that you know that could do it like me"

"And everybody got they opinions But they ain't got no money"

"Monty: Counting all this bread, I don't talk to feds"

"Never really cared what the fuck these niggas think"

"This is something you should know, I don't ever chase no hoes I spotted you, you had that glow; watch me pull out all this dough"

"Cannot keep you out my brain"

"Married to the money, I ain’t never let go"

"I want you to be mine, again, baby I know my lifestyle is driving you crazy Aye, I cannot see myself without you"

"I love the weed, blow that odour"

"I wake up in the morning, all I think is flip Count a couple hundreds, flip a couple bricks Time to hit the plug now, need another flip Counting all this money, got me filthy rich"

"All fast money, no slow bucks No one can control us"

"I'm sipping on you like some fine wine, though And when it's over, I press rewind, though"

"Baby, take a look at my life Let's drop the top on my ride, baby Yo, nigga ain't hittin' that right Come roll with me for the night, baby"

"Pay attention to how we move things"

"And I get high with my baby"

"When I was three or four, an older kid tried to scare me away from a barn full of dangerous junk by telling me the Bogeyman lived there. I spent a lot of time crawling around beneath rusted machinery and through barbed wire looking for the Bogeyman, but no luck. I've always loved a good scare, perhaps because the "Oz" and "Alice" books, the first things my mother read to me, are pretty scary stuff for a toddler. They had some wonderfully horrifying radio shows in those days, too — Suspense, Escape, and Quiet, Please. I still regret that I was listening to Charlie McCarthy when Orson Welles terrorized the country with his Martian invasion . . . As my membership in the Horror Writers Association attests, I don't mind the label."

"Goul or ghul, in Arabic, signifies any terrifying object which deprives people of the use of their senses; hence it became the appellative of that species of monster which was supposed to haunt forests, cemeteries, and other lonely places, and believed not only to tear in pieces the living, but to dig up and devour the dead."

"For all their laughter, ghouls are a dull lot. Hunger is the fire in which they burn, and it burns hotter than the hunger for power over men or for knowledge of the gods in a crazed mortal. It vaporizes delicacy and leaves behind only a slag of anger and lust. They see their fellows as impediments to feeding, to be mauled and shrieked at when the mourners go home. They are seldom alone, not through love of one another's company, but because a lone ghoul is suspected of stealing food. Their copulation is so hasty that distinctions of sex and identity are often ignored."

"I had always been impatient with superstition. If I ever met a God, I would apologize for disbelieving in Him, but not until then."

"I believe that we are soft creatures in a world with some very hard edges. It's remarkable that we survive at all, much less do high deeds or write great music. I think … tension … is a condition of our existence, and I do my best to depict it."

"Vampires, like virgins or priests, are things that women believe in. We must never fail to humor them in such matters."

"Neoliberalism is an ideology that reduces all values to money values. The worth of a thing is the price of the thing. The worth of a person is the wealth of the person. Neoliberalism tells you that you are valuable exclusively in terms of your activity in the marketplace."

"Seeking an English equivalent for peinture relative, Fritz Glarner settled on the term 'relational painting' towards the end of 1946, which he applied retrospectively to some of his earlier paintings and all his subsequent works. It was a term that suited the kind of abstract painting he pursued, focused on relating geometric shapes and ground through colour in ways which would make shape and ground alternate to produce what he called 'pumping planes'. While acknowledging the influence of Piet Mondrian (1872-1944), with whom he was closely associated in New York, Glarner replaced the balancing of horizontality and verticality achieved in Mondrian's painting with interlocking rectangles and wedges that expand out towards the edges of the canvas."

"The copious literature on the work of artist Robert Smithson has made very little of the many parallels between the inventor of earthworks and the nineteenthcentury author of pataphysics, despite the established fact that the artist read and made notes from Alfred Jarry’s Dr. Faustroll (1898) while working on the Spiral Jetty in 1970, which undoubtedly influenced the subsequent Broken Circle &/ Spiral Hill (1971, Emmen). Given the insightful literature reassessing Jarry’s influence on twentieth-century artists including Marcel Duchamp, John Cage and Rodney Graham, a consideration of Smithson’s spiral earthworks in connection with Jarry is long overdue. In contrast to prevailing art research practices today, Smithson’s work is much more aligned with the pataphysical pursuit of ‘imaginary solutions’ that examine ‘the laws governing exceptions’ and describe ‘a universe which can be – and perhaps should be – envisaged in place of the traditional one’."

"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."

"Nature is never finished."

"The scenic ideals that surround even our national parks are carriers of a nostalgia for heavenly bliss and eternal calmness."

"Writing should generate ideas into matter, and not the other way around."

"Cultural confinement takes place when a curator imposes his own limits on an art exhibition , rather than asking an artist to set his limits. Artists are expected to fit into fraudulent categories. Some artists imagine they've got a hold on this apparatus, which in fact has got a hold of them. As a result, they end up supporting a cultural prison that is out of their control."

"Visiting a museum is a matter of going from void to void. Hallways lead the viewer to things once called 'pictures' and 'statues." Anachronisms hang and protrude from every angle. Themes without meaning press on the eye. Multifarious nothings permute into false windows (frames) that open up into a variety of blanks. Stale images cancel one's perception and deviate one's motivation. Blind and senseless, one continues wandering around the remains of Europe, only to end in that massive deception 'the art history of the recent past'"

"They are volunteers: last of the great volunteer armies, for the draft is beginning that summer in the North. They have lost faith in their leaders but not in themselves."

"He had forgotten the Cause. When the guns began firing he had forgotten it completely."

"I was trying to warn you. But... you have no Cause. You and I, we have no Cause. We have only the army. But if a soldier fights only for soldiers, he cannot ever win. It is only the soldiers who die."

"If the war goes on-and it will, it will-what else can we do but go on? It is the same question forever, what else can we do? If they fight, we will fight with them. And does it matter after all who wins? Was that ever really the question? Will God ask that question, in the end?"

"It's no good trying to get yourself killed, General. The Lord will come for you in His own time."

"He moved closer to the wall up there, past mounds of bodies, no line any more, just men moving forward at different speeds, stopping to fire, stopping to die, drifting back like leaves blown from the fire ahead."