Sol LeWitt Quotes

It took me twenty years to get Steven Parrino's work. From the time I first saw his art, in the mid-eighties, I almost always dismissed it as mannered, Romantic, formulaic, conceptualist-formalist heavy-metal boy-art abstraction.

All of the significant art of today stems from Conceptual art. This includes the art of installation, political, feminist and socially directed art.

I think that I came of age in the 1970s with my own work, and it was a time of conceptual and process art, and it was very important not to tell a story. If you told a story, when I was a young artist and first came to N.Y., it was, like, an embarrassing way to make art.

Traditional conceptual art is very dry.

'Untitled' is a time machine that can transport you to 1992, an edgy moment when the art world was crumbling, money was scarce, and artists like Tiravanija were in the nascent stages of combining Happenings, performance art, John Cage, Joseph Beuys, and the do-it-yourself ethos of punk. Meanwhile, a new art world was coming into being.

I'm not an abstract artist; I leave that to others. To me, abstract art ended with Kazimir Malevich's 'Black Square.' To continue it is senseless.

When you think about Dada and the great moments in Modern Art, it's always the sense of when you're not sure that art is most likely to be occurring.

We were doing performance art as far back as 1965, just not calling it that.

My advice to new artists is to embrace a broader concept of timelessness than vintage or retro.

When I was a kid and started to be obsessed by art in the 1980s, the art world was in this polarity Warhol/Beuys, Beuys/Warhol. Both expended the notion of art extremely, but in very different ways.

John Baldessari, the 79-year-old conceptualist, has spent more than four decades making laconic, ironic conceptual art-about-art, both good and bad.

In its most limited sense, modern, art would seem to concern itself only with the technical innovations of the period.

When I was growing up, all the art that touched me was lens-generated, like Gerhard Richter, or Polke, Rauschenberg, Warhol.

I think 21st century should be art without objects.

As I made my way through 'On Line,' the austere, stridently dogmatic, sometimes revelatory exhibition 'about line' at MoMA, I found myself thinking, 'Someone please wake me when the seventies are over!' In the empire of curators, the sun never sets on the seventies. It is the undead decade.

Anne Imhof is a powerful artist from Germany making work that is totally interdisciplinary.

In general, modern art... has been inspired by a natural desire to chart the uncharted.

Modern art is childish - not childlike, remember, childish; not innocent but stupid, insane, pathological. We have to get rid of this trend. We have to create a new kind of art, a new kind of creativity. We have to bring to the world again what Gurdjieff calls objective art.

Modern art is what happens when painters stop looking at girls and persuade themselves that they have a better idea.

It's great that New York has large spaces for art. But the enormous immaculate box has become a dated, even oppressive place. Many of these spaces were designed for sprawling installations, large paintings, and the Relational Aesthetics work of the past fifteen years.

It would be obvious for me to do conceptual art, and I think I've done it already with smashing bass guitars and whatever - I consider that as conceptual.

In the mid- to late '60s to the mid-'70s, when I was a student, there was a major change in the thinking about what art can be and how art is made.

I love contemporary art, although I wouldn't want a pickled shark in my house.

It wasn't stone. It wasn't welded steel. It wasn't traditional sculpture. They thought it was craft, or something else, but not art. They couldn't define it in the early Fifties when I was starting out.

Like most sensible people, you probably lost interest in modern art about the time that Julian Schnabel was painting broken pieces of the crockery that his wife had thrown at him for painting broken pieces of crockery instead of painting the bathroom and hall.