Unfortunately, there was no Jackson Pollock of the camera.

I'm interested in glorifying something that we in the world would say doesn't deserve being glorified. Something that's forgotten, focused on as though it were some sort of sacred object.

The subject [of Los Angeles] became a general metaphor for anxiety and the speed of modern life.

I have no social agenda with my work. I'm deadpan about it.

The fact that few painter-fine-artists used photography in their work made it appealing.

Nothing's changed except the dates on the newspapers. I'm in my same skin thinking the same old thoughts. The difference between psychedelia and digitalia ages will seem like a smooth blending in years to come and will be a mere blip on the screen.

When I first did the book on gasoline stations, people would look at it and say, Are you kidding or what? Why are you doing this? In a sense, that's what I was after: I was after the head-scratching.