Photographs Are A Way Of Imprisoning Reality,

I Am Profoundly Uncertain How To Write. I Know What I Love And What I Like, Because It's A Direct Passionate Response. But When I Write, I'm Very Uncertain Whether It's Good Enough. That Is, Of Course, The Writer's Agony.

The Basic Unit For Contemporary Art Is Not The Idea, But The Analysis Of And Extension Of Sensations.

The White Race Is The Cancer Of Human History; It Is The White Race And It Alone — Its Ideologies And Inventions — Which Eradicates Autonomous Civilizations Wherever It Spreads, Which Has Upset The Ecological Balance Of The Planet, Which Now Threatens The Very Existence Of Life Itself.

[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.

Any Photograph Has Multiple Meanings: Indeed, To See Something In The Form Of A Photograph Is To Encounter A Potential Object Of Fascination. The Ultimate Wisdom Of The Photographic Image Is To Say: “there Is The Surface. Now Think – Or Rather Feel, Intuit – What Is Beyond It, What The Reality Must Be Like If It Looks This Way.’ Photographs, Which Cannot Themselves Explain Anything, Are Inexhaustible Invitations To Deduction, Speculation, And Fantasy