I think making features has got to be in the addiction category.

When I first came to New York, in the '70s, artists were certainly divided about the Andy Warhol persona, and about the work. I thought it was utterly cool - I thought the Factory was utterly glamorous - but there were a lot of artists I really admired and respected who were older that kind of dismissed it, couldn't get it, and felt that there was a lack of seriousness about it.

The thing that a lot of people may or may not know is every artist is a cinephile, whether they watch movies whether they're painting, or have films that influence them.

I think I'm still, in many ways, a terribly self-conscious person. I'd probably be shooting and think, "Well, how does my hair look?"

Any work that is really great hovers between terrific and terrible.

I teach a graduate photo seminar at Yale, and I sometimes feel so overwhelmed by the task the students set before themselves to be artists, because - it seems so quaint, but when I picked up a camera with a group of other women, I'm not gonna say it was a radical act, but we were certainly doing it in some sort of defiance of, or reaction to, a male-dominated world of painting.

I think the big news there - most post-menopausal women I know are not celibate.