I have always attempted to create images that deliver the maximum amount of information about the subject.
Get yourself in trouble. If you get yourself in trouble, you don't have the answers. And if you don't have the answers, your solution will more likely be personal because no one else's solutions will seem appropriate. You'll have to come up with your own.
From my point of view, photography never got any better than it was in 1840.
A photograph doesn't gain weight or lose weight, or change from being happy to being sad. It's frozen. You can use it, then recycle it.
It always amazes me that just when I think there's nothing left to do in photography and that all permutations and possibilities have been exhausted, someone comes along and puts the medium to new use, and makes it his or her own, yanks it out of this kind of amateur status, and makes it as profound and as moving and as formally interesting as any other medium.
Paintings can make you cry and it's just **colored dirt**.
I don't work with inspiration. Inspiration is for amateurs. I just get to work.
In my art, I deconstruct and then I reconstruct, so visual perception is one of my primary interests.
It's always a pleasure to talk about someone else's work.
See, I think our whole society is much too problem-solving oriented. It is far more interesting to participate in 'problem creation'... You know, ask yourself an interesting enough question and your attempt to find a tailor-made solution to that question will push you to a place where, pretty soon, you'll find yourself all by your lonesome - which I think is a more interesting place to be.
Every child should have a chance to feel special.
I discovered about 150 dots is the minimum number of dots to make a specific recognizable person. You can make something that looks like a head, with fewer dots, but you won't be able to give much information about who it is.
Far more interesting than problem solving is problem creation.
Of all the artists who emerged in the '80s, I think perhaps Cindy Sherman is the most important.
You know, the way art history is taught, often there's nothing that tells you why the painting is great. The description of a lousy painting and the description of a great painting will very much sound the same.
The reason I don't like realist, photorealist, neorealist, or whatever, is that I am as interested in the artificial as I am in the real.
Sometimes I really want to paint somebody and I don't get a photograph that I want to work from.
Every idea occurs while you are working. If you are sitting around waiting for inspiration, you could sit there forever.
I knew from the age of five what I wanted to do. The one thing I could do was draw. I couldn't draw that much better than some of the other kids, but I cared more and I wanted it badly.
You can give the same recipe to ten cooks, and some make it come alive, and some make a flat souffle. A system doesn't guarantee anything.
I'm plagued with indecision in my life. I can't figure out what to order in a restaurant.
I always thought that one of the reasons why a painter likes especially to have other painters look at his or her work is the shared experience of having pushed paint around.
I always thought problem solving was greatly overrated - and that the most important thing was problem creation.
Sculpture occupies real space like we do... you walk around it and relate to it almost as another person or another object.
Painting is a lie. It's the most magic of all media, the most transcendent. It makes space where there is no space.
