Jean Pigozzi Quotes

I'm going to start these art museums that are basically converted homes, and I have one for modern art, and I have one for 19th century European art, and one for French impressionism. I've got Japanese.

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.

It's a mystery to me the way that contemporary art galleries function.

Many young Japanese were hearing for the first time the words of Native people from the West.

When I started writing about art, there were no curators.

It's true that I pick up many ideas from different Japanese things.

Art fairs bring attention to up and coming artists and some amazing new works. They are a way to connect everyone with what's happening at the cutting edge of art, both new and historic.

Unfortunately, the general interest in art among the Japanese is very low compared to that of Western countries. I would love to be able to correct that by bringing many more pieces of interesting artwork to Japan.

I visit a lot of art galleries. I live in Dublin and there's a very good gallery called the Kevin Kavanagh gallery.

In China, we don't have any contemporary art museums. Until a few years ago, we didn't even have a gallery.

It will take a long time, and certainly the West will remain the dominant civilization well into the next century, but the decline is occurring.

Growing up in California, I obviously knew about our deep connections with the Japanese.

I think people are enticed by indie rap and every time you have a group going against the grain, they're gonna be like, 'Wow, you did it yourself in 2012, that's impressive - how did you do it? What're you doing that's different? And how can I be a part of it?'

Biennial culture is already almost irrelevant, because so many more people are providing so many better opportunities for artists to exhibit their work.

Russia is a part of the West and at the same time is a part of the Asia-Pacific.

I'm half-Japanese, so I collect toys, like a Yayoi Kusama stuffed pumpkin.

Since I am a Japanese man who's been building through the experience of Japanese architecture, my actual designs come from Japanese architectural concepts, although they're based on Western methods and materials.

In Japanese art, space assumed a dominant role and its position was strengthened by Zen concepts.

I'm noticing a new approach to art making in recent museum and gallery shows. It flickered into focus at the New Museum's 'Younger Than Jesus' last year and ran through the Whitney Biennial, and I'm seeing it blossom and bear fruit at 'Greater New York,' MoMA P.S. 1's twice-a-decade extravaganza of emerging local talent.

If contemporary artists sincerely seek to be original, unique, and new, they should begin by disregarding the notions of originality, individuality, and innovation: they are the cliches of our time.

The Indian community in Canada has integrated much better than the Indian community in United States. They've become really Canadian at the same time as keeping all their Indian characters and customs and social groups.

But one of the amazing things about documentary is that you can remake it every time you make one. There is no rule about how a documentary film has to be made.

I don't plan out my visits rigorously, but I do have a list of about 125 New York galleries, alternative spaces, museums, and so forth that I visit regularly. That's the closest thing I have to a strategy: I go to a lot of places, many that artists don't visit.

The Whitney is a museum that has a great rapport with younger artists and the community.

I admire the abstract expressionists and pop artists so right now I'm referencing American '60s art and at the same time referencing Japanese manga culture.