Camille Paglia Quotes
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Back in the 1960s, I got a superb education for very little money. The bill for my first year at Harpur College in New York was a few hundred dollars.
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Butchery is not the point of vampirism. Sex - domination and submission - is.
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Madonna remains the most visible performer on the planet, as well as one of the wealthiest, but would anyone seriously say that artistic self-development is her primary motivating principle? She is too busy with Kabbalah, fashion merchandising, adoption melodramas, the gym, and ill-starred horseback riding to study art.
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I consider myself not a conservative libertarian but a radical '60s libertarian.
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I believe that everybody has the right to view his or her own body as a palette. However, I think intellectuals should at least try to be role models.
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I am a registered Democrat who is determined to return my party to the proletarian principles of the Franklin D. Roosevelt era.
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I cannot be convinced that great artists are moralists. Art is first appearances, then meaning.
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It's time for a recovery and reassessment of North American thinkers. Marshall McLuhan, Leslie Fiedler and Norman O. Brown are the linked triad I would substitute for Jacques Lacan, Jacques Derrida and Michel Foucault, whose work belongs to ravaged postwar Europe and whose ideas transfer poorly into the Anglo-American tradition.
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The artist makes art not to save mankind but to save himself. Every benevolent comment by an artist is a fog to cover his tracks, the bloody trail of his assault against reality and others.
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Uncritical American boosterism - automatic endorsement of every government action - is myopic and self-defeating.
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The only thing that will be remembered about my enemies after they're dead is the nasty things I've said about them.
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I'm a professor of media studies as well as humanities, and I'm an evangelist of popular culture, but when there's only media, then there's going to be a slow debasement of language, and that's what I think we're fighting.
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It's aggravating that Hollywood has never gotten credit for the role it played in promoting modern design.
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I don't go to New York. I don't go to parties. I just do my business and study nature. My career is 28 years in an obscure art school, with limited staff and no perks. All I am is a teacher.
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My generation of the Sixties, with all our great ideals, destroyed liberalism, because of our excesses.
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Rule of art: Cant kills creativity!
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Everyone of my generation who preached free love is responsible for AIDS.
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I despise the phony, fancy-pants rhetoric of professors aping jargon-filled European locutions - which have blighted academic film criticism for over 30 years.
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As a scholar who regularly surveys archival material, I think that, a century from now, cultural historians will find David Horowitz's spiritual and political odyssey paradigmatic for our time.
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Feminist anti-porn discourse virtually always ignores the gigantic gay male porn industry, since any mention of the latter would bring crashing to the ground the absurd argument that pornography is by definition the subordination of women.
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In 'A Room of One's Own', Virginia Woolf satirically describes her perplexity at the bulging card catalog of the British Museum: why, she asks, are there so many books written by men about women but none by women about men? The answer to her question is that from the beginning of time men have been struggling with the threat of woman's dominance.
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All objects, all phases of culture are alive. They have voices. They speak of their history and interrelatedness. And they are all talking at once!
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Man has traditionally ruled the social sphere; feminism tells him to move over and share his power. But woman rules the sexual and emotional sphere, and there she has no rival. Victim ideology, a caricature of social history, blocks women from recognition of their dominance in the deepest, most important realm.
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It's high time for the art world to admit that the avant-garde is dead. It was killed by my hero, Andy Warhol, who incorporated into his art all the gaudy commercial imagery of capitalism (like Campbell's soup cans) that most artists had stubbornly scorned.