whatever doesn't kill you leaves scars.

Our task is not to find the maximum amount of content in a work of art, mush less to squeeze more content out of the work than is already there. Our task is to cut back on content so we can see the thing at all. The aim of all commentary on art now should be to make works of art - and, by analogy, our own experience - more, rather than less, real to us.

In the greatest art, one is always aware of things that cannot be said. . .of the contradiction between expression and the presence of the inexpressible. Stylistic devices are also techniques of avoidance. The most potent elements of a work of art are, often, its silences.

It is not suffering as such that is most deeply feared but suffering that degrades.

In the final analysis, style is art. And art is nothing more or less than various modes of stylized, dehumanized representation.

As objects of contemplation, images of the atrocious can answer to several different needs. To steel oneself against weakness. To make oneself more numb. To acknowledge the existence of the incorrigible.

The two ideas are antithetical. Insofar as photography is (or should be) about the world, the photographer counts for little, but insofar as it is the instrument of intrepid, questioning subjectivity, the photographer is all.