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 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.
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 don't necessarily think that installation is the only way to go. It's just a label for certain kinds of arrangements.
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.
Teaching at university isn't like teaching in an art school.
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.
Do you know why language manifests itself the way it does in my work? It's because I understand short attention spans.
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've never worked in advertising - my experience was as an editorial designer for magazines - but you could say, in the bigger picture, that magazines are vehicles for colour advertising.
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.
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.
The reason why bookstores are going out of business in the States is that people just can't focus on longer narratives now - even narrative film is in crisis in many ways, unless it's an adventure film.
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.
I like suggesting that 'we are slaves to the objects around us,' that 'plenty should be enough,' or that the 'buyer should beware,' within the context of conventional selling space.
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.
I think that designers have an incredibly broad creative repertoire. They solve. They create images of perfection for any number of clients. I could never do that. I'm my client. That's the difference between an artist and a designer; it's a client relationship.
I always say that I'm an artist who works with pictures and words, so I think that the different aspects of my activity, whether it's writing criticism, or doing visual work that incorporates writing, or teaching, or curating, is all of a single cloth, and I don't make any separation in terms of those practices.
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 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.
