I think that the exactitude of the photograph has a sort of compelling nature based in its power to duplicate life. But to me the real power of photography is based in death: the fact that somehow it can enliven that which is not there in a kind of stultifying frightened way, because it seems to me that part of one's life is made up of a constant confrontation with one's own death.

I want to speak, show, see, and hear outrageously astute questions and comments. I want to be on the sides of pleasure and laughter and to disrupt the dour certainties of pictures, property, and power.

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.

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

I'm an artist who works with pictures and words. Sometimes that stuff ends up in different kinds of sites and contexts which determine what it means and looks like.

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

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.