Quotes of All Topics . Occasions . Authors
Love is something you fall into.
Doubt tempers belief with sanity.
Memory is your image of perfection.
You make history when you do business.
You want it, you buy it, you forget it.
I've always been very tied to language.
I have no complaints, except for the world.
I'm living my life, not buying a lifestyle.
It's a small world, but not if you have to clean it
What I'm trying to do is create moments of recognition.
I had to figure out how to bring the world into my work.
All violence is the illustration of a pathetic stereotype.
I just say I'm an artist who works with pictures and words.
Teaching at university isn't like teaching in an art school.
I think pictures and words have the power to make us rich or poor.
We are obliged to steal pieces of language, both visual and textual.
Listen: our culture is saturated with irony whether we know it or not.
It's hard for me to understand how working-class people support themselves.
GIVE YOUR BRAIN AS MUCH ATTENTION AS YOU DO YOUR HAIR AND YOU'LL BE A THOUSAND TIMES BETTER OFF.
If I bring up political power, personal power, it sounds like they're my terms, and they're not.
Direct address has been a consistent tactic in my work, regardless of the medium that I'm working in.
I'm trying to deal with ideas about histories, fame, hearsay, and how public identities are constructed.
Money talks. It makes art. It determines what food we eat, whether we are cured or die, and what shoes we wear.
All the gossip and craziness becomes a kind of sustained narrative which, in turn, can become history. It's scary.
You know, one of the only times I ever wrote about art was the obituary of Warhol that I did for the Village Voice.
Do you know why language manifests itself the way it does in my work? It's because I understand short attention spans.
I don't necessarily think that installation is the only way to go. It's just a label for certain kinds of arrangements.
Money talks. It starts rumors about careers and complicity and speaks of the tragedies and triumphs of our social lives.
Images are made palpable, ironed flat by technology and, in turn, dictate the seemingly real through the representative.
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 work with pictures and words because they have the ability to determine who we are, what we want to be and what we become.
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.
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!
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.
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.
It entered the visual vocabulary of photographers, painters and sculptors and focused on what pictures and words look like and what they can mean.
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.
What makes the production of my work so expensive? The whole installation thing - the construction, the objects, the technology. It really adds up.
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.
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 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.
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.
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.
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.
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'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.
The place of the arts in the classroom is essential in encouraging invention, ambition, and an understanding of the importance and pleasures of living an examined life.
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.
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.