Lee Krasner Quotes

Drake went through my exhibition. I did meet him in Los Angeles, and he was in the spaces that I did do there, and has some images from that.

I primarily buy art to show it off.

The giant white cube is now impeding rather than enhancing the rhythms of art. It preprograms a viewer's journey, shifts the emphasis from process to product, and lacks individuality and openness. It's not that art should be seen only in rutty bombed-out environments, but it should seem alive.

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

I think with the whole new Internet media, I'm not necessarily Internet savvy, but I just feel that the way that art in general will be presented to the public is going to be different.

It's the first time that I've ever had an art show based on a film, but it's a photography collage.

I am planning a one-man art show of original Batman oil paintings that I will show in New York City.

These small shows were decidedly a success. The exhibitions were not too large to be seen easily. It was not an effort, as larger collections of pictures usually are.

Perhaps at some time in the future, when you ask a friend to come up and look at your etchings, you will plug in your collection of video art.

At a certain point, I had so much artwork that I decided to respect the art and present them in a nice way, not just on a dusty shelf.

Being in a room full of my art makes me incredibly nervous because the work always gets damaged when it's shown, and I hate my openings.

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.

I don't think anyone would want to come to my gallery show.

Sometimes I just have a few people over to see the new work, and I think it works better than in a museum situation, where the public is just presented with a large area.

My most famous show is the 'Kitchen Show.' More famous than any gallery show or museum show I curated.

A vacant white room with lights is still a submission to the neutral. Works of art seen in such spaces seem to be going through a kind of esthetic convalescence.

Can space break? I mean the space of art galleries. Over the past 100 years, art galleries have gone from looking like Beaux Arts salons to simple storefronts to industrial lofts to the gleaming giant white cubes of Chelsea with their shiny concrete floors.

One of my favourite exhibitions is called 'Do It,' which I co-curated with the artists Christian Boltanski and Bertrand Lavier 21 years ago.

It was always my intention that The Frieze should be housed in a room which would provide a suitable architectural frame for it.

I have always dreamed of bringing an exhibit of Mark Rothko to Moscow.

The nice thing about the gallery shows is that without having to pay any money you can just go and see it.

The day I decided I didn't want to be a 19th-Century European curator, I knew I would never have the experience of people coming and going 'ooh' and 'aah,' the way they do around the Monets. It just doesn't happen.

I want to use whatever connections to get a super-outstanding Basquiat in the White House. It could be one of mine. It could be something that a friend owns.

I have 17 full-time archivists working for me who put away in books all the diversity of artwork I do, from drawing to etching to monotypes to prints to lithographs.

And several galleries - two had asked me and I said no, because I didn't want to leave things on consignment.