'Camp' is a vision of the world in terms of style - but a particular style. It is the love of the exaggerated.

Religion is probably, after sex, the second oldest resource which human beings have available to them for blowing their minds.

In contrast to the written account-which, depending on its complexity of thought, reference, and vocabulary, is pitched at a larger or smaller readership-a photograph has only one language and is destined potentially for all.

The only story that seems worth writing is a cry, a shot, a scream. A story should break the reader's heart.

The moral pleasure in art, as well as the moral service that art performs, consists in the intelligent gratification of consciousness.

In America, the photographer is not simply the person who records the past, but the one who invents it.

[T]he visibility of styles is itself a product of historical consciousness. ... The very notion of "style" needs to be approached historically. Awareness of style as a problematic and isolable element in a work of art has emerged in the audience for art only at certain historical moments - as a front behind which other issues, ultimately ethical and political, are being debated.