The photographer both loots and preserves, denounces and consecrates.

The truth of history crowds out the truth of fiction - as if one were obliged to choose between them.

Detachment is the prerogative of an elite; and as the dandy is the nineteenth century's surrogate for the aristocrat in matters ofculture, so Camp is the modern dandyism. Camp is the answer to the problem: how to be a dandy in the age of mass culture.

A work of art, so far as it is a work of art, cannot - whatever the artist's personal intention - advocate anything at all.

It is not altogether wrong to say that there is no such thing as a bad photograph - only less interesting, less relevant, less mysterious ones.

I want to live as long as possible, just to see how stupid it gets.

One criticizes in others what one recognizes and despises in oneself. For example, an artist who is revolted by another’s ambitiousness.