What makes photography a strange invention is that its primary raw materials are light and time.Collection: Art
Protest and anger practically always derives from hope, and the shouting out against injustice is always in the hope of those injustices being somewhat corrected and a little more justice established.Collection: Anger
As Nelson Mandela has pointed out, boycott is not a principle, it is a tactic depending upon circumstances. 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.Collection: Power
Without ethics, man has no future. This is to say, mankind without them cannot be itself. Ethics determine choices and actions and suggest difficult priorities.Collection: Future
Propaganda requires a permanent network of communication so that it can systematically stifle reflection with emotive or utopian slogans. Its pace is usually fast.Collection: Communication
Autobiography begins with a sense of being alone. It is an orphan form.Collection: Alone
The point about hope is that it is something that occurs in very dark moments. It is like a flame in the darkness; it isn't like a confidence and a promise.Collection: Hope
Emigration, forced or chosen, across national frontiers or from village to metropolis, is the quintessential experience of our time.Collection: Experience
A drawing is essentially a private work, related only to the artist's own needs; a 'finished' statue or canvas is essentially a public, presented work - related far more directly to the demands of communication.Collection: Communication
Being a unique superpower undermines the military intelligence of strategy. To think strategically, one has to imagine oneself in the enemy's place. If one cannot do this, it is impossible to foresee, to take by surprise, to outflank. Misinterpreting an enemy can lead to defeat. This is how empires fall.Collection: Intelligence
Ours is the century of enforced travel of disappearances. The century of people helplessly seeing others, who were close to them, disappear over the horizon.Collection: Travel
Perspective is not a science but a hope.Collection: Science
The human imagination... has great difficulty in living strictly within the confines of a materialist practice or philosophy. It dreams, like a dog in its basket, of hares in the open.Collection: Dreams
One can say of language that it is potentially the only human home, the only dwelling place that cannot be hostile to man.Collection: Home
Hope is a contraband passed from hand to hand and story to story.Collection: Hope
A cigarette is a breathing space. It makes a parenthesis. The time of a cigarette is a parenthesis, and if it is shared, you are both in that parenthesis. It's like a proscenium arch for a dialogue.Collection: Space
Hope is not a form of guarantee; it's a form of energy, and very frequently that energy is strongest in circumstances that are very dark.Collection: Hope
Drawing is a way of coming upon the connection between things, just like metaphor in poetry reconnects what has become separated.Collection: Poetry
The Cro-Magnons lived with fear and amazement in a culture of Arrival, facing many mysteries. Their culture lasted for some 20,000 years.
It has always seemed to me that those who are without power, who have to create their own in a makeshifit way, know more about life than those who govern.
Words are so often used in the opposite sense, as a screen of diversion. It's the struggle towards truthfulness which is the same whether one is writing a poem, a novel or an argument.
That we find a crystal or a poppy beautiful means that we are less alone, that we are more deeply inserted into existence than the course of a single life would lead us to believe.
Nakedness reveals itself. Nudity is placed on display. The nude is condemned to never being naked. Nudity is a form of dress.
Globalisation means many things. At one level, it talks of trade, which since the 16th century has exchanged goods and now, increasingly, ideas and information across the globe. But globalisation is also a view of the world - it is an opinion about man and why men are on the world.
Compassion has no place in the natural order of the world which operates on the basis of necessity. Compassion opposes this order and is therefore best thought of as being in some way supernatural.
A peasant becomes fond of his pig and is glad to salt away its pork. What is significant, and is so difficult for the urban stranger to understand, is that the two statements are connected by an and not by a but.
When I was about seven, one or two people encouraged me, and art became an enormous and important refuge. By adolescence, I was absolutely passionate about it and felt those paintings and those painters, whether they lived a few hundred years ago or were still alive, were somehow my companions.
For the artist, drawing is discovery. And that is not just a slick phrase; it is quite literally true.
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 read a story, we inhabit it. The covers of the book are like a roof and four walls. What is to happen next will take place within the four walls of the story. And this is possible because the story's voice makes everything its own.
I think I'm very permeable. I can very easily, without even choosing to do it, enter the life of another. Or, to put it in a more modest and accurate way, for that life to enter mine.
I wanted to write about looking at the world, so it's more about helping people, or persuading people, to see what is around us; both the marvellous and the terrible.
A drawing is an autobiographical record of one's discovery of an event - either seen, remembered or imagined. A 'finished' work is an attempt to construct an event in itself.
Publicity is the life of this culture - in so far as without publicity capitalism could not survive - and at the same time publicity is its dream.
Boycott is not a principle. When it becomes one, it itself risks becoming exclusive and racist. No boycott, in our sense of the term, should be directed against an individual, a people, or a nation as such.
We live in a dominant culture of ceaseless Departure and Progress that has so far lasted two or three centuries.
Art is the provocation for talking about enigma and the search for sense in human life. One can do that by telling a story or writing about a fresco by Giotto or studying how a snail climbs up a wall.
The camera relieves us of the burden of memory. It surveys us like God, and it surveys for us. Yet no other god has been so cynical, for the camera records in order to forget.
The poverty of our century is unlike that of any other. It is not, as poverty was before, the result of natural scarcity, but of a set of priorities imposed upon the rest of the world by the rich.
Unlike any other visual image, a photograph is not a rendering, an imitation or an interpretation of its subject, but actually a trace of it. No painting or drawing, however naturalist, belongs to its subject in the way that a photograph does.
Modern thought has transferred the spectral character of Death to the notion of time itself. Time has become Death triumphant over all.