Arne Glimcher 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 fight for the debunking of the artist and an end to individual pictures.

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

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

I had a visit from an artist friend who basically said, "Your paintings are wonderful. Now stop." It did resonate with me. It hit on the percolating need for change that was already there. I got a little push. I did a group of the paintings early on that were among the best. It was sort of beginner's luck with these.

Every other year or so I go to one of those great generous places, the artist retreats. Some of the poems in The Beauty were written at the MacDowell Colony, in New Hampshire, and others at Civitella Ranieri, in Umbria.

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.

I really love fan art, which I get sent a lot of. I really, really get a lot of. I get a kick out of it.

I don't think you can talk about progress in art - movement, but not progress. You can speak of a point on a line for the purpose of locating things, but it's a horizontal line, not a vertical one.

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.

A bit of a theory, more a corner of the eye noticing than an airtight argument: in the course of long artistic careers, women are more likely than men to change form and style, Proteus-like.

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.

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.

The little dissatisfaction which every artist feels at the completion of a work forms the germ of a new work.

My movement from painting to film was a very conscious one.

So I look at a lot of stuff now that I did and some of it looks tame to me, but my interest in terms of what I want to say with it is a little different.

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

I'm glad to say I'm experiencing more of a conversation in my artistic workforce world than I ever have before. But it's a job, as an artist, to reflect the world we live in; that's our job.

The art world doesn't exist in a vacuum.

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

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.