Kiki Smith 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'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.

In England, pop art and fine art stand resolutely back to back.

I like visual arts, and what I love doing is participating in the making of it.

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

I'm always interested in people who are not orientated in art circles to become part of it.

How much the work of an artist owes to an art movement to which he belongs can never be determined exactly, if only because the movement derives its character from the individual creations of its members.

I find that it's a very odd thing to think of competition when you're talking about what I still think of as art. I don't think of competing with actors or filmmakers at all. You do compete, in a way, at the box office, but we're far enough apart when both films are coming out that I'm not concerned with that either.

Judson Church was a very important place because they believed in art. They also took care of drug addicts. Without the Judson, nothing could have happened.

Contemporary art will help me to modernise our society.

People see owning a gallery as a way to get rich. I never thought that I could get rich in the art world. I wanted a life in art. I wanted to live with artists. I wanted to make beautiful shows.

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.

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

I started to understand that for me, art was no longer about self-expression but about creative engagement with the world. I started to respond in an excited way to making work inside an industry and not feeling the constraints of audience expectation as some kind of thing that I should avoid.

It was a movement that had all the art critics, all the museum directors in its thrall.

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

When I was making my debut as an artist, I felt that it was very important that I try to combine the background of my own culture, my people, and the country into the contemporary art world. So that's how I came up with the term 'superflat.'

The art world doesn't exist in a vacuum.

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

The art world has become so insular. The rules have become so autodidactic that, in a sense, they lose track of what people have any interest in thinking about, talking about, or even looking at.

I like the idea of a fully realized collection with artists.

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

I've never been interested in, much in the politics of the art world, it doesn't interest me.

The art establishment has turned away from the old curriculum which puts beauty and craft at the top of the agenda.

The art world is the biggest joke going. It's a rest home for the overprivileged, the pretentious, and the weak. And modern art is a disgrace - never have so many people used so much stuff and taken so long to say so little.