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.
All the gossip and craziness becomes a kind of sustained narrative which, in turn, can become history. It's scary.
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.
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.
Listen: our culture is saturated with irony whether we know it or not.
I'm trying to deal with ideas about histories, fame, hearsay, and how public identities are constructed.
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.
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 I developed language skills to deal with threat. It's the girl thing to do-you know, instead of pulling out a gun.
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.
Money talks. It starts rumors about careers and complicity and speaks of the tragedies and triumphs of our social lives.
I think that art is still a site for resistance and for the telling of various stories, for validating certain subjectivities we normally overlook. I'm trying to be affective, to suggest changes, and to resist what I feel are the tyrannies of social life on a certain level.
One thing I learned working at magazines was that if you couldn't get people to look at a page or a cover, then you were fired. It was all about how you create arresting works, and by arresting I mean stop people, even for a nano-second.
What makes the production of my work so expensive? The whole installation thing - the construction, the objects, the technology. It really adds up.
You know, one of the only times I ever wrote about art was the obituary of Warhol that I did for the Village Voice.
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