It’s hard for me to understand how working-class people support themselves.
I think there are different ways of being rigorous, and I am asking people to be as rigorous in their pleasure as in their criticism.
I just say I’m an artist who works with pictures and words.
It’s good to keep in mind that prominence is always a mix of hard work, eloquence in your practice, good timing and fortuitous social relations. Everything can’t be personalized.
I think people have to set up little battles. They have to demonize people whom they disagree with or feel threatened by. But it’s the ideological framing of the debate that scares me.
All the gossip and craziness becomes a kind of sustained narrative which, in turn, can become history. It’s scary.
I think there are lots of ways to make good work. You can throw big bucks at a project and make what some would call crap, or you can work very modestly with eloquently moving results.
Art is as heavy as sorrow, as light as a breeze, as bright as an idea, as pretty as a picture, as funny as money, and as fugitive as fraud!
Seeing is no longer believing. The very notion of truth has been put into crisis. In a world bloated with images, we are finally learning that photographs do indeed lie.
Belief is tricky because left to its own devices, it can court a kind of surety, an unquestioning allegiance that fears doubt and destroys difference.
I like suggesting that ‘we are slaves to the objects around us,’ that ‘plenty should be enough,’ or that the ‘buyer should beware,’ within the context of conventional selling space.
It entered the visual vocabulary of photographers, painters and sculptors and focused on what pictures and words look like and what they can mean.
There are so many moments and works that influence us in what we do. Movies, music, TV and, most importantly, the profound everydayness of our lives.
I don’t necessarily think that installation is the only way to go. It’s just a label for certain kinds of arrangements.
If most American cities are about the consumption of culture, Los Angeles and New York are about the production of culture – not only national culture but global culture.
I’ve always thought that it’s good to watch the news to find out what everybody else is looking at and believing, if only because that’s how consensus is constructed.
I’d always been a news junkie, always read lots of newspapers and watched the Sunday morning news shows on TV and felt strongly about issues of power, control, sexuality and race.
I think that every so-called history book and film biography should be prefaced by the statement that what follows is the author’s rendition of events and circumstances.
I want people to be drawn into the space of the work. And a lot of people are like me in that they have relatively short attention spans. So I shoot for the window of opportunity.
I feel uncomfortable with the term public art, because I’m not sure what it means. If it means what I think it does, then I don’t do it. I’m not crazy about categories.
I think I developed language skills to deal with threat. It’s the girl thing to do-you know, instead of pulling out a gun.