Molly Crabapple Quotes

I always feel a bit trapped when a painting goes for millions of pounds and only one person can have it. If you can have that as well as a poster on every student's wall, then you're in a very enviable position. I'd like to do a Damien Hirst for £500 at some point.

Now people look at 'The Scream' or Van Gogh's 'Irises' or a Picasso and see its new content: money. Auction houses inherently equate capital with value.

If you're trying to work the art game, if you're like Andy Warhol or something, then you're in with cake-eaters of society. You want to get in with them and please them and get their money.

A painting probably is the most shocking increase in value, from what it costs to make to what you sell it for.

I don't buy art just to make artists happy any more than I want to make them sad if I sell their work.

The new job of art is to sit on the wall and get more expensive.

I think it's probably the Dutch who are to blame for starting the whole 'art business', because before they came along, art was attached to relatively stable structures, and it was everybody's. It was like going to the movies.

Not to say people shouldn't get rich from art. I adore the alchemy wherein artists who cast a complex spell make rich people give them their money. (Just writing it makes me cackle.) But too many artists have been making money without magic.

Fairs are beneath the dignity of art. To stand there in a booth and hawk your wares - it is just not how you sell art.

I'm very hard on the art world just being a big business.

The wealthy are always surrounded by hangers-on; science and art are as well.

The small amount of people that control the discourse around painting - I thought that the whole museum world was just a bunch of phonies, and I didn't really want to have anything to do with it. I guess I did installations, in a funny way, because they couldn't be commodified.

Americans sometimes say to me that they have no class system themselves. All human beings have class systems. It can be based on a different thing in a different country, but the thing about breeding is, you can't buy it. You can't buy class.

One of the problems that we face through the media attention that these artists receive is that there has been an awful lot of talk about opera and classical music being elite and being for an elitist group.

The rule in the art world is: you cater to the masses or you kowtow to the elite; you can't have both.

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.

These days, newish art can be priced between $10,000 and $25,000. When I tell artists that a new painting by a newish artist should go for around $1,200, they look at me like I'm a flesh-eating virus.

Art dealing is when you're doing it as a business.

Selling art is a lot different than making it.

I'm not totally comfortable with the ways in which our culture monetises art and literature.

Even Andy never hung his own paintings. He'd sell them or put them in a box.

The artists are now big brands.

It may be a point of great pride to have a Van Gogh on the living room wall, but the prospects of having Van Gogh himself in the living room would put a great many devoted art lovers to rout.

The galleries are simply corporations in the art world - "Here's a million dollars for this latest piece of crap" - but I'm not about to go along with the gallery system.

A work of art is worth what someone will pay for it.