Who's going to ask a painter to see a diploma? They'd say, 'Can I see your paintings?', wouldn't they?
I think Picasso was, without doubt, the greatest portraitist of the 20th century, if not any other century.
I like the confusion you get between science and religion … that’s where belief lies and art as well.
I haven't sufficient interest in objects or anything I can see around me to do what Oldenburg does.
A lot of Broadway has that immigrant narrative of America as a place where you can become something else against all odds.
I have always been interested in having people fall into the image and be aware of their reaction first, and then think about the style.
I'm interested in visual vocabulary, like Warhol was interested in that vocabulary of advertisements and television and pop culture.
I've learned a lot from being a chameleon, sort of adopting the musical personalities of who I was playing with.
I really like doing the laundry, because I succeed at it. But I loathe putting it away. It is already clean.
The epiphany for me was that I wasn't a writer, and I had to do something with these texts. I put them in the streets as posters.
I moved to New York in the 1970s and started writing when I was at the Whitney Museum Independent Study Program.
One of the glories and terrors of working in public is that you do see if your output means anything to anyone.
SPIT ALL OVER SOMEONE WITH A MOUTHFUL OF MILK IF YOU WANT TO FIND OUT SOMETHING ABOUT THEIR PERSONALITY FAST.
Sometimes I see it and then paint it. Other times I paint it and then see it. Both are impure situations, and I prefer neither.
To do a drawing for a painting most often means doing something very sketchy and schematic and then later making it polished.
I assumed that everything would lead to complete failure, but I decided that didn't matter – that would be my life.
Whenever you finish an artwork and the viewer comes and views it, at that moment you've given up control.
I wish there was a painter who could paint as well as Ted Williams could hit.
When you do men's wear, it's less about thinking outside the box than about pushing the walls of the box outward. Men want to be evolutionary, not revolutionary.
For me, drawing is a way of navigating the imagination, and it remains the fundamental vehicle of my practice. Drawing allows me to be at my most inventive.
There was a time when meanings were focused and reality could be fixed; when that sort of belief disappeared, things became uncertain and open to interpretation.
