What I find is that the taking, the stealing, the appropriation of images has to do with prior availability, and it sets up a degree where things can be shared... It's like 50% off... You can let something of another emotion or another personality sign on your work, or co-sign it.

The way you would know if someone is famous in the art world is that you would ask your mother. My mother knows who Picasso was. She knows who Warhol was.

I wish I had met [Francesca] Woodman forty years ago. It would have been great to live with her for a year. She didn't save anything. She played the camera like a new guitar. She murdered herself out taking pictures.

I didn't like hovering above myself and looking back, or going through a door and thinking, How many times did I just go through that door? How do I get back? You know, that's not for me.

I got a job in the tear-sheets department, ripping up magazines like People, Fortune, Sports Illustrated, and Time, and delivering the editorial pages.... So I began to use a camera to make fake photographs of the ads. By re-photographing a magazine page and then developing the film in a cheap lab, the photos came out very strange.

It would be strange for me to think I'm being ripped off, because that's what I do!

I never had a penny to my name, so I changed my name.