“I worked with someone else’s photos; I cropped them in whatever way I wanted and put words on top of them. I knew how to do it with my eyes closed. Why couldn’t that be my art?”

Do you know why language manifests itself the way it does in my work? It’s because I understand short attention spans.

You want it, you buy it, you forget it.

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.

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.

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.

What I’m trying to do is create moments of recognition.

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.

The so-called language of Barbara Kruger is vernacular language. Obviously, I pick through bits and pieces of it and figure out to some degree how to objectify my experience of the world, using pictures and words that construct and contain me.

Money talks. It makes art. It determines what food we eat, whether we are cured or die, and what shoes we wear.

Money talks. It starts rumors about careers and complicity and speaks of the tragedies and triumphs of our social lives.

I don’t necessarily think that installation is the only way to go. It’s just a label for certain kinds of arrangements.

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.

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.

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.

Photography has saturated us as spectators from its inception amidst a mingling of laboratorial pursuits and magic acts to its current status as propagator of convention, cultural commodity, and global hobby.

What makes the production of my work so expensive? The whole installation thing – the construction, the objects, the technology. It really adds up.

I want you to go back into the barrack and tell the men to come out after the storm. Tell them to look up at me tied here. Tell them I’ll open my eyes and look back at them, and they’ll know hat I survived.

Thus to share in the sufferings of Christ is, at the same time, to suffer for the kingdom of God. In the eyes of the just God, before his judgment. Those who share in the sufferings of Christ become worthy of this kingdom.

I was only in the public eye because I was annoying. You know how neurotic people may ask for one thing when they may really want another thing? It was like I was asking for attention, but I didn’t really want attention.

I know that’s a little jarring, coming from a Weatherman, but what I mean by being humble is doubting if your action did anything. So you have to open your eyes, act and doubt. And then you have to repeat for a lifetime.

She went out and took a last long look at the shabby little library. She knew she would never see it again.

We as producers need to keep an eye on things and make sure we’re doing great stuff, which is sometimes easy to do because of the talent we have, and sometimes not so easy.

Hear me, four quarters of the world-a relative I am! Give me the strength to walk the soft earth, a relative to all that is! Give me the eyes to see and the strength to understand, that I may be like you. With your power only can I face the winds.

Little by little deep inside us, the diamond shines, the eyes open, the dawn rises, we become what we already are.