What makes photography a strange invention is that its primary raw materials are light and time.

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.

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.

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.

Nakedness reveals itself. Nudity is placed on display. The nude is condemned to never being naked. Nudity is a form of dress.

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.

Glamour cannot exist without personal social envy being a common and widespread emotion.

What makes photography a strange invention is that its primary raw materials are light and time.

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

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.

One can say of language that it is potentially the only human home, the only dwelling place that cannot be hostile to man.

Post-modernism has cut off the present from all futures. The daily media add to this by cutting off the past. Which means that critical opinion is often orphaned in the present.

Emigration, forced or chosen, across national frontiers or from village to metropolis, is the quintessential experience of our time.

You can plan events, but if they go according to your plan they are not events.

Never chain your dogs together with sausages. One must accustom one's self to be bored.

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.

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.

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.

Modern thought has transferred the spectral character of Death to the notion of time itself. Time has become Death triumphant over all.

The past grows gradually around one, like a placenta for dying.

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.

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.

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.

A boycott is directed against a policy and the institutions which support that policy either actively or tacitly. Its aim is not to reject, but to bring about change.

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.

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.

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.

A line, an area of tone, is not really important because it records what you have seen, but because of what it will lead you on to see. Following up its logic in order to check its accuracy, you find confirmation or denial in the object itself or in your memory of it.

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.

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.

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.

Degas was obsessed by the art of classical ballet, because to him it said something about the human condition. He was not a balletomane looking for an alternative world to escape into. Dance offered him a display in which he could find, after much searching, certain human secrets.

Drawing is a way of coming upon the connection between things, just like metaphor in poetry reconnects what has become separated.

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

Fanaticism comes from any form of chosen blindness accompanying the pursuit of a single dogma.

For the artist, drawing is discovery. And that is not just a slick phrase; it is quite literally true.

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.

I actually think of myself as quite a shy person, although I know I give the impression of someone much more confident. I think what I do have is a capacity to listen to the other, even if the other is an opponent. That leads, in all senses of the word, to an engagement.

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.

In Degas's compositions with several dancers, their steps, postures and gestures often resemble the almost geometric, formal letters of an alphabet, whereas their bodies and heads are recalcitrant, sinuous and individual.

In drawing after drawing, pastel after pastel, painting after painting, the contours of Degas's dancing figures become, at a certain point, darkly insistent, tangled and dusky. It may be around an elbow, a heel, an armpit, a calf muscle, the nape of a neck.

In ethics, there is a humility; moralists are usually righteous.

It can happen that a book, unlike its authors, grows younger as the years pass.

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.

Painting is something that you need to do, if not every day, then certainly most days. It is almost like being a pianist: if you stop, you lose something.

The autobiographical doesn't interest me. I could think of few things less interesting than rooting about in my life.

The human quality Degas most admired was endurance.

The industrial society... recognises nothing except the power to acquire... No other kind of hope or satisfaction or pleasure can any longer be envisaged within the culture of capitalism.