“Simply because I liked it so much I saw it in Venice and thought: I'd like to have that for myself. To start with I only meant to make a copy, so that I could have a beautiful painting at home and with it a piece of that period, all that potential beauty and sublimity... Then my copy went wrong, and the pictures that finally emerged went to show that it just can't be done any more, not even by way of a copy. All I could do was to break the whole thing down and show that it's no longer possible”

Posthumous attributions, Tupac: Resurrection (2003)

"Jesus For A Day" (co-written with Jeremy Ruzumna, Justin Meldal-Johnsen, Bobby Ross Avila, Issiah J. Avila)
The Trouble with Being Myself (2003)

Source: after 2000, Doubt and belief in painting' (2003), pp. 60-61, note 94

On her feelings about romance in “Morgan Parker: ‘In the back of my mind I’m on a slave ship, yet I’m also here just telling you how it is.’” https://www.guernicamag.com/miscellaneous-files-interview-morgan-parker/ in Guernica Magazine (2019 Mar 22)

Introduction
Misquoting Jesus (2005)
Context: It is one thing to say that the originals were inspired, but the reality is that we don't have the originals—so saying they were inspired doesn't help me much, unless I can reconstruct the originals. Moreover, the vast majority of Christians for the entire history of the church have not had access to the originals, making their inspiration something of a moot point. Not only do we not have the originals, we don't have the first copies of the originals. We don't even have copies of the copies of the originals, or copies of the copies of the copies of the originals. What we have are copies made later—much later. In most instances, they are copies made many centuries later. And these copies all differ from one another, in many thousands of places. As we will see later in this book, these copies differ from one another in so many places that we don't even know how many differences there are. Possibly it is easiest to put it in comparative terms: there are more differences among our manuscripts than there are words in the New Testament.

translation from the original Dutch, Fons Heijnsbroek
version in original Dutch (citaat van Breitner's brief, in het Nederlands:) Weet U wat ik nodig heb om een goed afgewerkt schilderij te maken? 2 jaar bij Gérome of zoo iemand op 't atelier te werken.. ..want dat is de enige manier om een goed schilder te worden. Dat gewurm, dan een aquarelletje dan een schilderijtje en eindelijk als ik daardoor zo veel verdiend heb dat ik zou kunnen studeeren ben ik te oud en te beroerd geworden.
In his letter to A.P. van Stolk, nr. 51, c. 1884; RKD-Archive, The Hague; as cited in master-thesis Van Gogh en Breitner in Den Haag, Helewise Berger, University of Utrecht, The Netherlands, p. 29
Breitner responds to accusations from his Maecenas that he refused to learn from well-known Dutch painters how to finish his paintings well. In 1884 already Breitner started in the studio of Cormon in Paris
before 1890

On the style of the film Rashomon, as quoted in The Films of Akira Kurosawa (1998) by Donald Richie, 3rd edition, p. 79
Context: I like silent pictures and I always have. They are often so much more beautiful than sound pictures are. Perhaps they had to be. At any rate I wanted to restore some of this beauty. I thought of it, I remember in this way: one of techniques of modern art is simplification, and that I must therefore simplify this film.