Hannah Gadsby Quotes

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

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

I follow the work of my contemporaries. I love their work.

I think art, if it's meaningful at all, is a conversation with other artists. You say something, they say something, you move back and forth.

I feel that every professional is the art school for the next guy. I feel that maybe a lot of the dynamism in my own work, having been felt by the rest of the artists, they'll react to it and put elements of that in their own work, feeling that it'll help it.

To be honest, I think, for me, the power is always with art. The art world clearly couldn't happen without art.

Western art is built on the biographical passion of one artist for another.

If I go to London, everyone wants to talk about Damien Hirst. I'm just not interested in him. Never have been.

Entertainment and art are not isolated.

When I was 17, I met many artists, and it started to become this conversation with artists out of which all of my exhibitions grew.

I've never been at odds with the world of contemporary artists. If there is any animosity, it's one-sided.

The art world is a very prissy little thing over in the corner, while the major cultural forces are being determined by techno science.

From my standpoint, being an artist, I want to see what the new construction is between artist and audience.

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.

The arts don't exist in isolation.

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

Sometimes the art world can be a scary place, and you feel like you should know more than you do, but it's okay to not know everything!

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.

My solo series, in some ways, have been rarely truly solo.

A mistake I've made is I have not worried sufficiently about the art world, really. I have not concerned myself with the other people in the art world. I've been a little too singular, and that's a mistake I've made. But everybody makes a mistake of some kind, and if that's my only mistake, I'm happy.

Artists such as Lorna Simpson, Zoe Leonard, Byron Kim and Stephen Andrews and I are around the same age, and I know them personally. The discussions I have had with them over the years have influenced the work that I have made throughout my career.

Art fairs are a lot like professional proms - you make contacts, have a lot to look at, and in some cases, you make friends forever. I think that for artists, they can be a bit controversial: they stimulate curiosity, but at the same time, you're always trying to not have your work hung on a wall.

Things don't happen in a vacuum, and artists don't make work in a vacuum.

The evolution of art is not only driven by artists, but by a conversation between the artists and the audience.