Drawing is a way of coming upon the connection between things, just like metaphor in poetry reconnects what has become separated.

[O]ften art has judged the judges, pleaded revenge to the innocent and shown to the future what the past suffered, so that it has never been forgotten. . . .

Words are so often used in the opposite sense, as a screen of diversion. It's the struggle towards truthfulness which is the same whether one is writing a poem, a novel or an argument.

What is saved in the cinema when it achieves art is a spontaneous continuity with all mankind. It is not an art of the princes or the bourgeoisie. It is popular and vagrant. In the sky of the cinema people learn what they might have been and discover what belongs to them apart from their single lives.

As Nelson Mandela has pointed out, boycott is not a principle, it is a tactic depending upon circumstances. A tactic which allows people, as distinct from their elected but often craven governments, to apply a certain pressure on those wielding power in what they, the boycotters, consider to be an unjust or immoral way.

The impulse to paint comes neither from observation nor from the soul (which is probably blind) but from an encounter: the encounter between painter and model: even if the model is a mountain or a shelf of empty medicine bottles.

The envied are like bureaucrats; the more impersonal they are, the greater the illusion (for themselves and for others) of their power.