Quotes of All Topics . Occasions . Authors
I rather like contemporary art.
I especially like to collect contemporary art.
Contemporary art will help me to modernise our society.
All art is contemporary art because it had to be made when it was now.
It's a mystery to me the way that contemporary art galleries function.
I love contemporary art, although I wouldn't want a pickled shark in my house.
When fashion sweeps in, artists follow suit. I think this is the malady of contemporary art.
You never know when contemporary art is going to insinuate itself into a normally art-free zone.
I gravitate toward contemporary art. I love great paintings, sculpture, photography, some video art.
My computer background is a black and white picture I took of the Niteroi Contemporary Art Museum in Brazil.
People don't like contemporary art, but all art starts life as contemporary - I can't really see a difference.
I stopped worrying about competition in contemporary art. It feels a little bit more pure. That's where I am, one step back.
I found that a lot of people ridiculed contemporary art. I decided I wanted to be involved in art everybody could understand.
Take Damien Hirst out of contemporary art history, and there's an incredible void. Great artists, like great people, have second acts.
We are concerned with the relationship between art and life. Contemporary art is only intelligible in terms of its relationship to our life.
There is a huge thirst for knowledge among the younger generation for contemporary art, but most of them learn about it by going on the Internet.
I'm very interested in the idea of unusual museums, ones that are not necessarily contemporary art museums - more like historical collections or house museums.
I feel like contemporary art is everywhere now and with the rise of the internet, it's so much easier to see what artists are doing and to follow their careers.
I began collecting artwork as a way to help young artists to promote their work as well as to increase awareness of contemporary art among the younger generation.
We have created indoor installations inside museums, like the Wrapped Floor at the Museum of Contemporary Art in Chicago in 1968, and not monumental at all by any standards.
If art is any good, it has so much of a longer trajectory than one night. Contemporary art is separate from art openings. In the end, it depends on the strength of ideas in each piece.
We always have a great time touring Germany, but one of my favourite museums in the world is Museum Ludwig, an incredible contemporary art museum in Cologne. I could spend all day in it.
Contemporary art will never achieve the audience of football, pop music, or television, so I think we should stop comparing its possible area of influence to that of big mass-media events.
I've become convinced that Los Angeles is going to become the next contemporary art capital - no other city has more contemporary gallery space than Los Angeles. We've come into our own, finally.
For me it's very important to turn Kiev into one of the main centers of contemporary art in the world. There is New York. There's London. And there will be Kiev. Everyone will come and say, 'Wow!'
What is extraordinary about contemporary art is the energy - it has our energy. New energy. Pieces hundreds of years old are beautiful from an aesthetic point of view, but without our modern energy.
I don't like most contemporary art. But I think if you talked to any person who's heavily involved in contemporary art, they'd say the same thing. If you go to a biennale, you don't expect to like much of it.
In contemporary art culture, where good looks and clever strategic planning of art careers have become a feature, professional practice may be taught in art schools like a branch of public relations or political science.
There's traditionally been a large disconnection in contemporary art between the audience and the artist. Generally, audiences are looking towards what they like, and I can tell you, that's the last thing on an artist's mind.
I was looking at the work of the New York street artists and then discovering Basquiat and Haring after that and seeing how the contemporary art scene was, and then going back into Warhol and all that was happening in the 60s.
Few people in contemporary art demonstrate much curiosity. The majority spend their days blathering on, rather than trying to work out why one artist is more interesting than another, or why one picture works and another doesn't.
The world of contemporary art has, in a way, exponentially expanded in the last couple of decades, and almost every major city in Europe and Asia and North America has fallen over themselves to have their own contemporary art museum.
I get the feeling that people from outside the world of contemporary art see it as deserving of mockery, in an emperor's-new-clothes sort of way. I think that's not right and that it's just because they don't understand the discourse.
I was very much into buying contemporary art, but I've just decided I want to get rid of it all. Not that it's not great art, but all of a sudden my mood has changed, and I want to go back to seventeenth- and eighteenth-century masters.
I don't decide where I live. My wife decides. She's a curator of contemporary art, and she works at an art museum, so we go wherever she has a job. All basements look the same, so I can write from whatever basement I happen to be living in.
When I was making my debut as an artist, I felt that it was very important that I try to combine the background of my own culture, my people, and the country into the contemporary art world. So that's how I came up with the term 'superflat.'
My own interest in art was because of my mother. My father didn't like contemporary art, so he didn't give her large sums to spend. So, she began buying prints and drawings. During my school days, I remember sitting in on many of the early meetings.
By 3000 B.C. the art of Egypt was so ripe and so far advanced that it is surprising to find any student of early culture proposing that the crude contemporary art of the early Babylonians is the product of a civilization earlier than that of the Nile.
I have a passion for modern and contemporary art. I spend a lot of time in museums; I particularly like the Guggenheim, MoMA in New York or LACMA and the Getty Museum in Los Angeles, for example. I cannot wait for the Louis Vuitton Foundation to open.
But you know in the contemporary art world, you pose a very interesting conundrum. All sorts of people collect very contemporary art, yet when it comes to the music which is analogous to that sort of art, they are not interested, or perhaps even hostile.
Mother liked beauty wherever she found it, and she found it in many different places, both in nature and in contemporary art. And that's where they pretty much parted company. Father... anything that was abstract would to him automatically be not very good.
I wanted to show the community you can build something here without having to raid taxpayers' dollars. What better way to show the community what we're all about, as a welcome to come to the Institute of Contemporary Art and be a part of what we're doing here?
There is a small world of people who are very interested in contemporary art and a slightly bigger world of people who look at contemporary art. But then there is a much larger world that doesn't realise how influential art is on things that they actually look at.
I get the feeling that people from outside the world of contemporary art see it as deserving of mockery, in an emperor's-new-clothes sort of way. I think that's not right and that it's just because they don't understand the discourse. The art world is filled with vibrancy.
Delphine Lucielle's paintings are profound, unique, and moving. It is rare to find contemporary art that combines both beauty, innovation, and creates a new style of painting by fusing technology and nature. Delphine Lucielle is pushing the boundaries of what art is capable of.
There are no categories in contemporary art. There are no rules. Artists are given the freedom to make and create whatever they please and call it whatever they please. I identify with that system, or lack of system, much more than I do the landscape of contemporary publishing.
My contemporary art collection began with just needing to put things on the wall. I was looking around my Victorian house thinking, 'What would be the coolest is contemporary art - it will make me look young and interesting.' I'm more than 80 percent skeptical of the whole thing.
By the late Nineties, we had become a more visual nation. Big-money taste moved to global standards - new architecture, design and show-off contemporary art. The Sloane domestic aesthetic - symmetry, class symbolism and brown furniture - became as unfashionable as it had been hot in the early Eighties.
I love and collect contemporary art and go to all the art fairs. I love Damien Hirst and Matthew Barney. I grew up in Italy and had a humanistic education in philosophy and literature - things I love and appreciate. People are richer and more complex than just their day-to-day professional pursuits might suggest.
There was an exhibition in Munich in 1937, 'Degenerate Art,' which included work by Klee, Kandinsky, Beckmann and many others. The work was called 'sick' and put in the trash heap. The sentiments expressed toward contemporary art by Jesse Helms, Pat Robertson and Mayor Giuliani recall the language used by the Nazis.