Any sensibility which can be crammed into the mold of a system, or handled with the rough tools of proof, is no longer sensibility at all. It has hardened into an idea.

Photographs shock insofar as they show something novel.

Everything should be understood, and anything can be transformed - that is the modern view.

Like the collector, the photographer is animated by a passion that, even when it appears to be for the present, is linked to a sense of the past.

In a lot of writing or intellectual discourse we're starting to use that model: "Oh, this is where it comes from!" I would like to concentrate on work which is more resistant to that procedure, as I think fiction is.

So successful has been the camera's role in beautifying the world that photographs, rather than the world, have become the standard of the beautiful.

Although none of the rules for becoming more alive is valid, it is healthy to keep on formulating them.