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+ I can’t work without it. And it has to
be the right kind, because if it’s not then
I get into a bad mood. I work with a remote so
that I can change CDs instantly if I need to.
(Sherman talking about her need to have music
on while working)
+ I didn't want to make "high" art,
I had no interest in using paint, I wanted to
find something that anyone could relate to without
knowing about contemporary art. I wasn't thinking
in terms of precious prints or archival quality;
I didn't want the work to seem like a commodity.
+ I was supporting myself, but nothing like the
guy painters, as I refer to them. I always resented
that actually.. we were all getting the same amount
of press, but they were going gangbusters with
sales.
+ When I do work, I get so much done in such a
concentrated time that once I’m through a
series, I’m so drained I don’t want
to get near the camera.
+ I was feeling guilty in the beginning; it was
frustrating to be successful when a lot of my
friends weren’t. Also, I was constantly being
reminded of that by people in my family making
jokes.
+ If I knew what the picture was going to be like
I wouldn’t make it. It was almost like it
was made already.. the challenge is more about
trying to make what you can’t think of.
+ The work is what it is and hopefully it’s
seen as feminist work, or feminist-advised work,
but I’m not going to go around espousing
theoretical bullshit about feminist stuff.
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