I didn't like hovering above myself and looking back, or going through a door and thinking, How many times did I just go through that door? How do I get back? You know, that's not for me.

I wish I had met [Francesca] Woodman forty years ago. It would have been great to live with her for a year. She didn't save anything. She played the camera like a new guitar. She murdered herself out taking pictures.

What I find is that the taking, the stealing, the appropriation of images has to do with prior availability, and it sets up a degree where things can be shared... It's like 50% off... You can let something of another emotion or another personality sign on your work, or co-sign it.

I wouldn't mind people saying, You can't do this because this isn't enough.

We do not make art. We have unnamable motors and dangerous impulses that occupy our thoughts.

Is passion what we are? Is that what we are in pictures? Is what we are in pictures almost real? Maybe it's become the most real thing.

If you're an artist or someone creative, it's all about cheap rent and not having to work for a living. That's what it's always been about. Unless you're a trust-funder or you somehow score a great part-time job or you work for another artist, you're going to go where you can afford to live.

The way you would know if someone is famous in the art world is that you would ask your mother. My mother knows who Picasso was. She knows who Warhol was.

I never had a penny to my name, so I changed my name.