Michelle Grabner Quotes

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

I love being around great artists, and I've been around a few of them.

New York is full of creative people, not only in fashion.

What I am sad about is that there is now, in America, no equivalent to the art circuit.

I consider myself a multi-platform artist - not just a street artist - but the audience I found through street art has created many of the opportunities I now have on other platforms.

The moment I moved to New York City to study fashion, I met and became friends with people not only involved in fashion but in all the arts. It's quite fluid with so many types of artists, designers, and musicians who know each other through collaborations or friends of friends.

When you're an artist, you're generally working at home alone in a studio. It's just really good to get with other guys and make art something you can share.

I worked as an artist, played in a band, met Andy Warhol, Christo, Lou Reed, and David Byrne. I had fun.

I literally have my hand in every aspect of the art world that you could imagine. That's what I've always done.

I have always wanted to have a cultural centre where people can sort of have a community of artists and like-minded people sharing their work.

New York City is still the art capital - every time I'm in New York, I'm thinking about competition.

I have a company that does design and animation, so obviously graffiti is definitely an intricate part of what we admire and respect in the art world.

Working with other artists and sharing your passions is great.

I was so impressed with the work we were doing and I was very involved ideologically in photography - that I arranged an exhibition at the College Art Association. The first exhibition I picked the photographs and so on and we had an exhibition in New York.

I think different people have different problems and different relations to the exhibition of their work.

I was excited by what my painter friends were doing, and they seemed to be interested in our poetry too, and that was a wonderful little, fizzy sort of world.

Then I moved down to the Bowery to this building where Debbie Harry lived. It was there that I started combining some clothes for her and continued doing the art and photography.

New York is a great place to be fed in the arts. The arts in general are a large part of my life. The city was my postgraduate course.

Performa's founder and prime mover, Roselee Goldberg, has great instincts for which artists might collaborate well together.

Coming out of the Louvre for the first time in 1971, dizzy with new love, I stood on Pont Neuf and made a pledge to myself that the art of this newly discovered world in the Old World would be my life companion.

In Australia, there aren't a lot of people committed to art, so these communities form that are dedicated to music, theater, cinema, but they're very small. So, they tend to move ahead on the power of collaboration, enthusiasm and creativity.

If you're a painter, you're not alone. There's no way to be alone.

The creative core of New York has never been native New Yorkers; it's people from all over the world.

But I was in awe of the painters; I mean I was new in New York, and I thought the painting that was going on here was just unbelievable.

In 1983, I was working at an art gallery in Los Angeles and going to film school at Los Angeles City College. At that time, Jean-Michel Basquiat was a young painter and was visiting L.A. for his first show at the Larry Gagosian Gallery.