I think about my art works as paintings, because they refer to the history of painting. I also have to think about them as sculptures, because every part of the process is part of the project. They're sculptures because they play on the idea of what should be hanging in a gallery. In that sense they're also kind of ready-mades.
The first exhibition that I used bright colours in painting the room was at a gallery in Paris, and there were seven rooms in the gallery. It was very nice gallery, not very big rooms, around the courtyard, it was a very French space. So I painted each room in different colour. When people came to the exhibition, I saw they came with a smile. Everybody smiles - this is something I never saw in my work before.
A work of art when placed in a gallery loses its charge, and becomes a portable object or surface disengaged from the outside world.
At work people are expected to be at the beck and call of employers all the time. You have blackberries and other things, and they just don't leave you alone. People have less time just to drop into an art gallery.
Courtesy is a silver lining around the dark clouds of civilization; it is the best part of refinement and in many ways, an art of heroic beauty in the vast gallery of man's cruelty and baseness.
It's much harder to work for yourself, by yourself, than to create work for a gallery, because there are no limits and you can do anything you want. It's always easier when you have a parameter, when you have a limit. You can work within the limit and push it and walk the line, but when you're given absolutely no limits, it's harder. You must really think. It's more challenging.
How much would you want to stand at the wrong end of a shooting gallery?
There was a kind of cultural life in New York that wasn't as solidified as it is now, it wasn't as money-driven. If you look at the size of the successful art galleries compared to the size of galleries now - there was no such thing as the Gagosian Gallery or Pace Gallery. But it was a time when magazines were a vital part of American life, and Esquire gave me a free pass to every world - I could get to the art world, the theater world, the movie world. It allowed you to roam through the cultural life of New York City.
I don't have a favorite place to see art. I like to encounter it anywhere, museum, gallery, home, studio, street. . . I do prefer to see good art, when I see art, but it doesn't matter where I see it.