“Fashion is everywhere and about everything. It is folly, vanity and the fun of it all. It is disguise, innuendo, and cunning. It is mean, gorgeous and ambitious, and definitely the last word for the next few seconds.”

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.

Courage doesn’t mean we’re not afraid anymore, it just means our actions aren’t controlled by our doubts.

The tragedy of life is not found in failure but complacency. Not in you doing too much, but doing too little. Not in you living above your means, but below your capacity. It’s not failure but aiming too low, that is life’s greatest tragedy.

Humility means one does not impose his conceptions upon others and he is fully dependent on the mercy of the Lord.

When my bed is empty, Makes me feel awful mean and blue. My springs are getting rusty, Living single like I do.

Every Day Is for the Thief is a vivid, episodic evocation of the truism that you can’t go home again; but that doesn’t mean you’re not free to try.

Hoping means seeing that the outcome you want is possible and then working for it.

When something seems ‘the most obvious thing in the world’ it means that any attempt to understand the world has been given up.

People are scared to make something that doesn’t look like another film that made a lot of money. It means we get ‘Four Weddings And A Funeral’ made again and again.