Hilton Als Quotes

I think you're not really teaching anyone unless you're learning yourself.

The artist’s memory is a dangerous, necessary thing. Never disavow what you see and remember-it’s your brilliant stock-in-trade: remembering, and making something out of it. Artists remember the world as it is, first, because you have to know what it is you’re reinventing; that’s a rule, perhaps the only one: being cognizant of your source material.

For black people, being around white people is sometimes like taking care of babies you don't like, babies who throw up on you again and again, but whom you cannot punish, because they're babies.

I think Northern California is the most beautiful place on earth. And I adore New Orleans, but there's something about the air in SF, for instance. It changes from moment to moment, like one's thoughts.

I was so well loved by my mother that if people have any expectations of me I really don't notice because I'm hardest on myself.

Inspiration takes many forms, but it's rarely pure.

Claudia Rankine's Citizen comes at you like doom. It's the best note in the wrong song that is America. Its various realities-'mistaken' identity, social racism, the whole fabric of urban and suburban life-are almost too much to bear, but you bear them, because it's the truth. Citizen is Rankine's Spoon River Anthology, an epic as large and frightening and beautiful as the country and various emotional states that produced it.

Challenging is good, like good conversation, yes? Who wants to have dinner with the same old easy listening music sounding friends all the time?

One of the things I noticed when I worked at Vibe was that backstage at a fashion show, they always referred to the black models as "black girls." I thought, "They never say 'white girls.'

Images are really powerful. People fall in love with images, and as a way of falling in love with someone because they're like an image.

People are quick to make monuments of anything they live long enough to control.

Who says reading should be easy? Shouldn't it challenge you as hard sometimes as love. Maybe "hard" is not the right word in this context. Ha!

There were so few black men who were successful and who successfully conveyed black male fear - how America can make you feel crazy, and how America can create interesting levels of contradiction.

I'm a draftsperson. And also, I really respond to love.

People have a copyright on their own life.

I think writing is an act of remembrance, I think that Instagram is an act of remembrance, and I think curating a show is an act of memory, too.

I think I'm just generally more interested in figuration than abstraction. I think that painting abstraction often feels like painting colors to me, whereas portraits always feel like something connected. I like the exchange, the collaborative aspect of sitter and subject for sure.

It's very hard to find artists in the history of western art who don't make portraiture ideological in some way.

I'm very interested in the question of how we perceive something, how consciousness goes from one thing, like looking at you in your black hat to what it might mean to my imagination and how I would draw that or write that, how I would subjectify you? It's something that is endlessly interesting to me.

Recalling, for me, is a great way of living, so not to forget.

I don't know what makes fashion cruel, except I feel nothing but spiritual depletion around it. There's nothing enriching, spiritually.

I used to always love taking photos, but I would always give a camera away to someone else. Now I don't give the camera away anymore. It also takes a long time to develop a visual style, and I think that the things that I was imitating were people I love, like Judy Linn or Gerald Turner, and then it slowly started to become more myself.

People approach people of color with preconceived ideas. I don't think this is just restricted to white people, but I think that lots of black and white artists, when race is a subject matter, they put race or the ideology around race first. They don't see the person and the complications of the human being.

I had to re-write "Philosophy" a lot. It was more obscure than what's in the book now, even! Some things I had to go back to and excise my former self, who was even more dense. I think you should teach whatever you want, Brian! That's the point of books like White Girls, to help free our thoughts!

I really don't think we should dismiss a book because we feel messed about intellectually. Or emotionally. That's the writer's job!

Great sadness can be off putting, hard to comprehend, especially if it hasn't been your experience. It's amazing for me to know now that AIDS, for instance, is something a lot of people don't "get," whereas it entirely shaped my social life since the time I was twenty until I was almost forty.

I think it's cultural racism more than anything, which dovetails with actual racism, but the cultural racism to me is even more shocking.

I think that if you feel imaginatively towards a subject, you really shouldn't do it in a journalistic context, because then you're just fabricating, and that's crazy.

Nothing is more flattering for a writer than when someone knows your work.

I thought of the structure as musical. The first piece, for instance, contains the names/subject matter of every person to come in the book. Like a piece of music with themes, etc.

I don't make a lot of money, but I get to have freedom.

Every time I put a collection together I'd scrap it because there was no "meaning," until I wrote about the two black men - friends - in the beginning of the book. So much of their experience was ABOUT trying to find friends in the authors/artists I wrote about - subjects that were/are a source of comfort, somehow, since none of them "fit," either

I feel like there are so few girls in New York like that anymore, who are not focused on getting a man with money.