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.
I think that art is still a site for resistance and for the telling of various stories, for validating certain subjectivities we normally overlook. I'm trying to be affective, to suggest changes, and to resist what I feel are the tyrannies of social life on a certain level.
Prominence is cool, but when the delusion kicks in it can be a drag. Especially if you choose to surround yourself with friends and not acolytes.
Women's art, political art - those categorisations perpetuate a certain kind of marginality which I'm resistant to. But I absolutely define myself as a feminist.
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.
I'm living my life, not buying a lifestyle.
I mean, making art is about objectifying your experience of the world, transforming the flow of moments into something visual, or textual, or musical, whatever. Art creates a kind of commentary.
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.
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 had to figure out how to bring the world into my work.
I think what I'm trying to do is create moments of recognition. To try to detonate some kind of feeling or understanding of lived experience.
Do you know why language manifests itself the way it does in my work? It's because I understand short attention spans.
I just say I'm an artist who works with pictures and words.
I try to deal with the complexities of power and social life, but as far as the visual presentation goes I purposely avoid a high degree of difficulty.
All the gossip and craziness becomes a kind of sustained narrative which, in turn, can become history. It's scary.
What makes the production of my work so expensive? The whole installation thing - the construction, the objects, the technology. It really adds up.
Look, we're all saddled with things that make us better or worse. This world is a crazy place, and I've chosen to make my work about that insanity.
I believe that who we are, and consequently the work that we make, whether we're visual artists or writers or journalists or filmmakers, is a projection of where we were born, what's been withheld or lavished upon us, our color, our sex, our class. And everything we do in life to some degree is a reflection of that context.
I'm trying to deal with ideas about histories, fame, hearsay, and how public identities are constructed.
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.
