Ben Shahn Quotes

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

Galleries began growing in both number and size in the late seventies, when artists who worked in lofts wanted to exhibit their work in spaces similar to the ones the art was made in.

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

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

As an artist, I've always wanted to participate in the dialogue of art with other artists.

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

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

The sun never sets on my gallery.

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

Right now I am preparing for another art exhibit in November in Palm Desert.

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.

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.

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

I always thought that one of the reasons why a painter likes especially to have other painters look at his or her work is the shared experience of having pushed paint around.

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.

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

I had my first exhibition in September, 2012. This was when I first introduced the public to my style of the incorporation of cloth in my paintings. It was well received and everyone was fascinated with the work on display. I also invited other young aspiring artist to display they work which was also well received.

'A Small Band' was commissioned for the facade of the Central Pavilion at the Fifty-Sixth Venice Biennale in 2013.

In 2011, 'Yourself in the World,' a book of my writings and interviews, was published in conjunction with a retrospective of my work at the Whitney Museum of American Art.

Doing art at Marlborough, where I went to school, was really quite tough, and I knew that it wasn't the direction I wanted to go. I'd rather show art and give people the joy of seeing it.

In the G.O.O.D. Music camp, we all come around, and we show ourselves and present ourselves as artists only.

I love being with artists because I'm always open to getting into something.

Whenever I've done jobs, whether it's an acting job or writing job, there's an aspect of it that feels like you help build your piece of it, and then you watch as someone takes it, and they finish building it.

In the study of the fine arts, they mutually assist each other.

Personal sympathy has helped me on very much. My husband from first to last has watched every picture with delight, and it is my daily habit to run to him with every glass upon which a fresh glory is newly stamped, and to listen to his enthusiastic applause. This habit of running into the dining-room with my wet pictures has stained such an immense quantity of table linen with nitrate of silver, indelible stains, that I should have been banished from any less indulgent household.