It's very hard to find artists in the history of western art who don't make portraiture ideological in some way.

I think you're not really teaching anyone unless you're learning yourself.

I thought of the structure as musical. The first piece, for instance, contains the names/subject matter of every person to come in the book. Like a piece of music with themes, etc.

I think Northern California is the most beautiful place on earth. And I adore New Orleans, but there's something about the air in SF, for instance. It changes from moment to moment, like one's thoughts.

The artist’s memory is a dangerous, necessary thing. Never disavow what you see and remember-it’s your brilliant stock-in-trade: remembering, and making something out of it. Artists remember the world as it is, first, because you have to know what it is you’re reinventing; that’s a rule, perhaps the only one: being cognizant of your source material.

For black people, being around white people is sometimes like taking care of babies you don't like, babies who throw up on you again and again, but whom you cannot punish, because they're babies.

Challenging is good, like good conversation, yes? Who wants to have dinner with the same old easy listening music sounding friends all the time?