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I think the greatest legacy of the 1960s was the general feeling that not only can you fight the powers that be, but you can win.
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The Obama administration has issued numerous orders essentially suspending deportations, prompting a major spike in illegal crossings.
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When I make a photograph I want it to be an altogether new object, complete and self-contained, whose basic condition is order (unlike the world of events and actions whose permanent condition is change and disorder).
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In order to be universal, you have to be rooted in your own culture.
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A man's respect for law and order exists in precise relationship to the size of his paycheck.
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In order to be artists we need to be in our studios, in our private rooms... in our private personal space... that sacred protected space, so we can make our work. That's the only work that's worth making, right? That's the place where we can be free enough and vulnerable enough to share what we have to share.
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I'm not an expert on the arms race.
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What more ghastly image can be called up than that of a man betrayed by his body who, simply because he did not die in time, lives out the comedy while awaiting the end, face to face with that God he does not adore, serving him as he served life, kneeling before a void and arms outstretched toward a heaven without eloquence that he knows to be also without depth?
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No one's interested really in knowing what policies or diplomatic initiatives or arms negotiations might have been compromised by me.
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He was beside me then, his arms wrapped around me, holding me tightly. "I'm not crazy," I whispered. "I know." Believe it or not, that's the most romantic thing Zachary Goode ever told me. And I kind of loved him for it.
