Richard Prince
[Artist, b. 1949, Panama Canal Zone, lives in New York.]

 ... maybe re-photographing a picture is like fucking a picture. There is something sexual about standing behind a camera and staring at another picture. It’s hard to explain. It’s like you’ve captured it. Even before you’ve taken it. Before you press the shutter. 
 The problem with art is, it’s not like the game of golf where you put the ball in the hole. There’s no umpire; there’s no judge. There are no rules. It’s one of its problems. But it’s also one of the great things about art. It becomes a question of what lasts. 
 We do not make art. We have unnamable motors and dangerous impulses that occupy our thoughts. 
 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... 
 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. 
 A lot of it’s experimental, spontaneous. It’s about knocking about in the studio and bumping into things. 
 I’ve never felt that I had to put out work that I actually liked… just because it’s out there doesn’t mean that I have to stand behind it. 
 If a picture was once worth a thousand words, one square inch of an image is now worth 360,000 bytes of computer storage space. 
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