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

Compassion is an unstable emotion. It needs to be translated into action, or it withers. The question is what to do with the feelings that have been aroused, the knowledge that has been communicated. People don't become inured to what they are shown — if that's the right way to describe what happens — because of the quantity of images dumped on them. It is passivity that dulls feeling.

Paintings invariably sum up; photographs usually do not. Photographic images are pieces of evidence in an ongoing biography or history. And one photograph, unlike one painting, implies that there will be others.

The danger, when not too dangerous, fascinate.

The painter constructs, the photographer discloses.

Making social comment is an artificial place for an artist to start from. If an artist is touched by some social condition, what the artist creates will reflect that, but you can't force it.

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.