We used to call the 1% the ruling class, but America's never felt comfortable using that terminology. It was taboo to talk about class war. Americans are okay talking about it like this; everyone wants to be part of the 99%, even the cops are like, "No, no, man. I'm part of the 99% too." No one wants to be part of the 1%.

Everyone wants to be part of the 99%, even the cops are like, "No, no, man. I'm part of the 99% too." No one wants to be part of the 1%.

By the time I was in my early-twenties and was living there on the Lower East Side, I was so surrounded by tragedy that I think that inspired me to try to reflect it in the artwork.

Street posters allowed you to have the last word. If you put them up in your neighborhood, you were speaking to your neighbor.

When Allen Ginsberg was still alive, he was was an artist, but he was very local. He was just another wing-nut in the neighborhood and he was very accessible. You'd see him in Tompkins Square Park or in the local delicatessen, in one of the greasy spoon restaurants on First Avenue or a Chinese restaurant.

There's the fact that animation is extremely time-consuming, tedious, labor-intensive, and therefore, extremely expensive as an art form to really do it right, to really do full animation.

The client isn't quite satisfied and then the prostitute is always unsatisfied but is doing it just to make ends meet. And if you're doing fine art, if you're doing it for a gallery or a museum, it's so sterilized. It's such an antiseptic environment.