I'm delighted. I don't know of anybody who had a statue built of them while they were living. It's a great feeling.
My dad grew up really poor in Mississippi. I paid attention to that because I thought that's a healthier thing to pay attention to than, like, some statue of a great-great-great grandfather who has no connection to my life.
I run from Horatio Street down just past Battery Park City and back. It's amazing to run and see the Statue of Liberty and the ferries coming in. People think if you're not near Central Park, there's nowhere to go, but there's a whole ecosystem happening down here.
The painter leaves his mark. And I just put in two statues in Rhode Island that I'm working on. And I think that's going to make me last longer than me.
I have a running daydream about winning an Oscar and giving my speech about how ridiculous it is to rank art. And then I'd call them all sycophants and leave the statue at the podium as I walked away.
I'm always caught up in the thrill of award season: The golden statues, the glamorous stars, and the fabulous gowns.
The relationship between critic and writer is similar to the one between the pigeon and the statue.
Living in New York City, I am reminded by the Statue of Liberty that the United States of America has always welcomed those yearning to breathe free and seek a better life.
I'm not going to waste my time worrying about these Confederate statues. That's wasted energy.
Activating is about changing people's perceptions of overlooked or invisible spaces. A building can become an archetype, invisible, like for a New Yorker, for example, the Statue of Liberty. You look at it, and it disappears into the thousands of times you've already seen it.