"Ours is now a society of the spectacle, with sponsored happenings and large-scale events that degrade art as a tool of the culture industry and an art market with top prices for important works that only a wealthy few can afford. This can be seen as a step back towards the re-feudalisation of art."
"A few weeks ago, I met the photographer, Charlie Krupa, for the first time. He works for the Associated Press, and he came to my house to photograph my fiancée and I for an article. The first thing he said to me was, “I’m sorry.” That surprised me. I didn’t think he’d feel any guilt or regret, because he hadn’t done anything wrong. I told Charlie not to worry. He was doing his job that day, and he was doing it well. People still write me to say how much the photo meant to them. I told Charlie that I understand now, like I didn’t then, that he was helping us that day, in the best way he knew how. He was documenting what happened. He was showing the world the truth – that bombs tear flesh and smash bones – and making the tragedy real."
"How can anyone know the depths of another person? After all, if we put an itemized list of quirks and signifiers into the world—and, in the age of social media, this is often literal—like a lazy writer, can we blame anyone for reading us with as little care?"
"What Parr-Badger have not yet done, though, is rigorously prune their shelves. If they want to see themselves as unofficial curators of the genre, then they need to make some tough and, no doubt, controversial judgments. The history of art is not a democracy in which every photo is as good as every other. It’s easy to be a revisionist if all you do is permit a lot of titles into your history that earlier writers ignored or excluded. By allowing into their Volumes any book that intrigues or amuses them, or that has an outré or political edge, they have shied away from having to defend which ones are the most vital and why some (and not others) have had—or should have—lasting influence."