Richard Serra 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 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.

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.

The artist and his work are not to be separated. The most willfully foolish man cannot stand aloof from his folly, but the deed and the doer together make ever one sober fact.

Secular artists see themselves with performance; they are more self involved, presentational.

Making art is not the matter of a moment, and nor is making an exhibition; curating follows art.

When you're starting out, you basically have all these assumptions about what it means to be an artist or how to be a rock star. It took me years, through trial and error, to figure out what does work for me. So much of it is counter to the myth of the rock-star life.

I never have thought of myself as a brand. I've thought of myself as an artist.

Men talk about art, and artists make art, but should artists talk?

If only the people around you know you're an artist, then you're doing something wrong.

I am always looking for what piece, what artists, what playwrights, what directors, what subject matter is going to catalyze an audience.

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

I actually like the collaboration of working with different artists.

I'm showing some of my sculptures in Holland in the spring, so we'll see.

Art is an expression of who you are. Parts that I play are my sculptures.

I need to be working with the art world in N.Y.C. as much as I need to be working in my studios in Chicago and rural Wisconsin.

Ironically, my paintings don't photograph well.

I'm an artist who works with pictures and words. Sometimes that stuff ends up in different kinds of sites and contexts which determine what it means and looks like.

There is more to representing art than selling art. The life of the gallery is dependent on the renewal and refreshment of its artists and dealers. When that stops happening, it's the end.

I always considered myself being an organizer. I'm very good at teaching singers, I'm very good at staging a show, to entertain people. But I never included myself. I never applied this to me as an artist.

I'm not trying to say I'm this artist who is all artsy and that I only write music for myself, because I don't. I write music for other people to enjoy, so I think about if it'd be an idea someone else would like.

I'm very, very open to experimenting with different people and trying to find different methods of writing and making music.

I love performing, and it's important that I do it at my own club, absolutely. It's good for me. It's good for business.

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.

If I'm writing a song for Karen Harding, I know I can't impose what I want to say onto her. I literally have to get into her headspace and think, 'what does she want to say?' When it comes to my stuff, it's the same. What can I write that's true to me?