The whole point of Camp is to dethrone the serious. Camp is playful, anti-serious. More precisely, Camp involves a new, more complex relation to "the serious." One can be serious about the frivolous, frivolous about the serious.

Art is not only about something; it is something. A work of art is a thing in the world, not just a text or commentary on the world.

Photography - the supreme form of travel, of tourism - is the principal modern means for enlarging the world. As a branch of art, photography's enterprise of world enlargement tends to specialize in the subjects felt to be challenging, transgressive. A photograph may be telling us: this too exists. And that. And that. (And it is all 'human.') But what are we to do with this knowledge - if indeed it is knowledge, about, say, the self, about abnormality, about ostracized or clandestine worlds?

A good book is an education of the heart.

America was founded on a genocide, on the unquestioned assumption of the right of white Europeans to exterminate a resident, technologically backward, colored population in order to take over the continent.

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.

In ‘life,’ I don’t want to be reduced to my work. In ‘work,’ I don’t want to be reduced to my life.