“It is not an art of the princes or the bourgeoisie. It is popular and vagrant. In the sky of the cinema people learn what they might have been and discover what belongs to them apart from their single lives.”

A tactic which allows people, as distinct from their elected but often craven governments, to apply a certain pressure on those wielding power in what they, the boycotters, consider to be an unjust or immoral way.

The unsung, impersonal world remains outside, on the other surface of a placenta. All songs, even when their content or rendering is strongly masculine, operate maternally.

Yet nowherein a zoo can a stranger encounter the look of an animal. At the most, the animal’s gaze flickers and passes on. They look sideways. They look blindly beyond.

Nothing in the nature around us is evil. This needs to be repeated since one of the human ways of talking oneself into inhuman acts is to cite the supposed cruelty of nature.

When we suffer anguish we return to early childhood because that is the period in which we first learnt to suffer the experience of total loss.

The extreme proposition on which Giacometti based all his mature work was that no reality… could ever be shared. This is why he believed it impossible for a work to be finished. This is why the content of any work is not the nature of the figure or head portrayed but the incomplete history of him staring at it.

For those who are behind the curtain, landmarks are no longer only geographic but also biographical and personal

All publicity works upon anxiety.

Ethics determine choices and actions and suggest difficult priorities.

Ever since the Greek tragedies, artists have, from time to time, asked themselves how they might influence ongoing political events.

Poetry can repair no loss, but it defies the space which separates. And it does this by its continual labor of reassembling what has been scattered.

Art, when it functions like this, becomes a meeting-place of the invisible, the irreducible, the enduring, guts, and honor.

She is meant to imagine herself transformed by the product into an object of envy for others, an envy which will then justify her loving herself.

We who draw do so not only to make something observed visible to others, but also to accompany something invisible to its incalculable destination

The envied are like bureaucrats; the more impersonal they are, the greater the illusion (for themselves and for others) of their power.

Autobiography begins with a sense of being alone. It is an orphan form.