What makes the production of my work so expensive? The whole installation thing – the construction, the objects, the technology. It really adds up.

Things change and work changes. Right now I like the idea of enveloping a space and getting messages across that connect to the world in ways that seem familiar but are different.

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.

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.

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.

Do you know why language manifests itself the way it does in my work? It’s because I understand short attention spans.

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 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 had to figure out how to bring the world into my work.

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 just say I’m an artist who works with pictures and words.

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.

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.

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.

There’s a moment of recognition. It’s that white-light kind of stuff that just “works.” I love that. And you know it when it happens, whether it’s a movie, music, a building, a book.

I’m an artist who works with pictures and words. Sometimes that stuff ends up in different kinds of sites and contexts which determine what it means and looks like.

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’m living my life, not buying a lifestyle.

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.

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.

Warhol’s images made sense to me, although I knew nothing at the time of his background in commercial art. To be honest, I didn’t think about him a hell of a lot.

What makes the production of my work so expensive? The whole installation thing – the construction, the objects, the technology. It really adds up.

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 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.

Direct address has been a consistent tactic in my work, regardless of the medium that I’m working in.

All the gossip and craziness becomes a kind of sustained narrative which, in turn, can become history. It’s scary.

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’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.

Although my art work was heavily informed by my design work on a formal and visual level, as regards meaning and content the two practices parted ways.

As with the Princess Di crash, which sent the media on the most insane feeding frenzy. From the moment of the crash, the pornography of sentiment never let up.

I’m trying to deal with ideas about histories, fame, hearsay, and how public identities are constructed.

You know, one of the only times I ever wrote about art was the obituary of Warhol that I did for the Village Voice.

Listen: our culture is saturated with irony whether we know it or not.

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 don’t necessarily think that installation is the only way to go. It’s just a label for certain kinds of arrangements.