Quotes from Marilyn Minter

I really don't own any jewelry. I paint it, but I'm not a consumer. I buy art - that's all I want.

I feed off the fashion world like a parasite.

Art about art and backstory has taken over visual pleasure.

I'm a voracious reader. I want information, all kinds - Internet, books, magazines.

People of my generation are used to collecting the heroic boys. And they're used to paying a lot of money for heroic boys. I don't make a third of what a guy would make.

I always say, 'Perfection is the flaw. It doesn't exist.' I saw something somewhere about 'porcelain pores' - you're not even allowed to have pores anymore!

I don't follow anybody. I just flip through whatever Instagram sends me. I like to keep my algorithm pure, so I only ever like pictures of art. It's a rabbit hole for me because I'm a total voyeur.

I'm an animal-rights person, actually. Big time.

The fashion world is 10,000 times more superficial than the art world. Fashion people are so much crazier than art-world people. They are constantly trying to leech from the art world, but they will never be able to do what we do.

Threads of Rosenquist and Warhol are all through my work. But I'm messier - and wetter. It's the female perspective. I'm not as tidy, and they were both very tidy.

I've been supporting Planned Parenthood all my life. I've even used it myself, back when I had no money. It's where I got my birth control. During college, every one of us got support from them.

I watched artists who blew up before me become parodies of themselves. I wasn't listening to people when they told me that I had nothing to say, and I can't listen to people now when they tell me I'm the bomb, even though I want to.

I meditate. Just counting my breath. Before I do anything, really.

My entire philosophy of teaching is based on the notion that when an artist finds a certain process really effortless, that's probably what he or she should choose to do. So often, students take the opposite tack; they have no use for the skills that come easily to them.

The thrill of a photo-realist painter is if you get really close to the painting, it looks just like a photograph. Whereas in my case, if you get close to my paintings, they totally fall apart - so I'm about as far from a photo-realist as it gets.

I'm from the South; there's been such progress since I was young, with racism, with feminism. The environment is next.

I've always tried to be very seductive. I want the paintings to draw you in. But I don't want to just glamour you. I want to make an image of the time we live in and reflect it back.

When Photoshop came around, I thought I'd died and went to heaven. When I hear artists say, 'Oh, the good old days' or 'I'm old school,' I just want to puke. There's no tool I won't use.

Success can be destructive to the creative process. I say it all the time: success is as dangerous as total failure.

I was there when they shut down the Pentagon; I've been going on protest marches my whole life... And now, this fight against controlling and policing women's bodies feels like a war.

When I see an artist whose work I like at a party - I'm old now, so I can do this - I go right over and tell them how much I like their work. Instantly, I'm on their side. The act of saying it takes away the competition. The act of saying it makes me not hate them anymore, because they're good.

I sort of feel like if you're slightly marginalized, you're hungrier, and you can take more risks and be more playful.

I think there's still this huge glass ceiling for women owning sexuality. And especially young women. If you're an old lady like me, I can do anything now.

I work in a studio with lots of young people, most of whom are my former students. We delight in trading YouTube videos! We all stop working to watch them. I'm totally addicted to anything with kittens and puppies, but 'Very Scared Kid' is one of my favorites.