‘Interview’ created indelible images of Pop Art that arrived on people’s doorsteps every month.
Art is a thing where, the least likely thing that you think is going to be art, is precisely the thing that is going to be art. And I would even hold that true to a reality television show… maybe the entire overarching process of the show actually exists as an artistic structure.
Art, unlike the trades in the artistic capacity of fashion and food, can literally be anything. It can be the negation of itself and conceptually not present.
Fashion is not separate from art. It is inextricably woven into how we open ourselves to the world and articulates the exchanges of power both real and imagined.
For me, graffiti and the complexities with which it is either absorbed or expelled from what is going on, is a really good comparison to the way I see my work being similarly expelled or absorbed into different types of discourse.
I have the utmost admiration for makeup artists. It’s truly magical what they can accomplish with their materials. The face and the body are really their canvas.
I try to get out of an image’s way in order to let it articulate what is hidden.
Makeup ignites a psychological transformation of both the wearer and the observer. My paintings sought to locate the subject of art within the manipulation of that altered predisposition.
Miami’s my favorite art fair. I even surfed there one year.
My favorite film score is the one Thomas Bangalter created for ‘Irreversible.’ The soundtrack absolutely defines the daymare-into-nightmare feeling you get from the film.
My work, in a certain way, got started in 1996 when I did an exhibition of thirteen paintings that were solely based on fashion imagery.
Painting is a coalescing of experience.
People get confused when they see my shows, but that isn’t the intention. My intention is to destabilize the act of seeing.
Technically, a makeup artist’s canvas is the face and body. The difference is that my painting of makeup is integrated into the painting of the flesh and not on top of it. I think in some ways it is more difficult to expressively deploy makeup.
There isn’t really anybody who occupies the lens to the extent that Lindsay Lohan does. Something happens when she steps in front of the camera. There is this magnetic energy.
There was a belief after World War I that painting could be an act of civil revolt. I want this exhibition, ‘New Museum,’ to be an act of civil disobedience. It’s not so much about the New Museum on the Bowery, but the idea of challenging museums as projections of cultural authority. It’s painting as insurgency.
When we can’t determine what is art – when you get to that point where we’re not sure, that’s the greatest likelihood that we’re actually experiencing something great. But I think that’s what the art world is most afraid of, because you lose that security. Then we don’t know how to assign evaluation, whether it’s cultural or otherwise.
When you think about Dada and the great moments in Modern Art, it’s always the sense of when you’re not sure that art is most likely to be occurring.