I do think all art is autobiographical, and I do think I know quite a bit about women. I don't know anything about men.

I like to be around dancers who are totally committed to the art form, totally committed to the men and women around them.

The women I know are smart, interesting people who aren't just there to service the men's stories, so I don't know why our art continues to do that.

Dealers claim that women artists are not as salable as men, that they are a poor investment. We know that there are few women art collectors, a fact which may have an impact on the market.

With almost no exceptions, art by men is much more expensive than art by women. Even great women artists, like Louise Bourgeois and Lee Krasner, are only fully embraced very late in their career.

There's a lot of thought in art. People get to talk about important things. There's a lot of sex, you know, in art. There's a lot of naked women and men, and there's intrigue, there's fakery. It's a real microcosm of the larger world.

I think Picasso was someone who took art's powers of consuming, its powers of much-ness and multiplicity, and used that to his fullest extent. That's something that was permitted to men, obviously, much more than women, but was also permitted in the past much more often than now.

I was really inspired by these larger-than-life female artists like Lee Bontecou and Eva Hesse and Yvonne Rainier and the incredible Lynda Benglis. There were many women who were really driven and became successful, who were part of essential paradigm shifts, despite the fact that the art world was still dominated by men.

Share This Page