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%.

I try to, at least once or twice a week, have someone over and model, usually a dancer friend or a poet or someone to come over and just stay still for me. Depending on how exhibitionist they are, it will determine the finished work. And I say, "You're the muse; you come up with it. I'll draw you however you want."

Typically your work will end up in a museum [after] you're dead. And maybe that's the function of a museum. It's an archive of your work after you're dead.

Artists always live in the cracks anyway, whatever culture they're in. They're usually accustomed to not having much money, to kind of roughing it.

We all know artists who like to collaborate, who like to work as a team. It all kind of depends what your habitual working method is.

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.

When I was in my early twenties I was doing tenant organizing - rent strikes, specifically - in my building. I think that was how I started doing poster art. It was something very concrete.