I love the Prado in Madrid. The Isabella Stewart Gardner Museum in Boston is also great.
Galleries are nice to me. I sign a lot of autographs.
But if I had to choose a single destination where I'd be held captive for the rest of my time in New York, I'd choose the Metropolitan Museum of Art.
In China, we don't have any contemporary art museums. Until a few years ago, we didn't even have a gallery.
For me, the gallery legitimates the art production and helps build collections. I don't think an artist should do everything by himself forever. I did it for years and then slowly built my circle of trust.
Yeah, I mean I am somebody that makes an effort to go and see a lot of exhibitions, painting, drawing, sculpture.
Before I started LimoLand, I mainly bought my clothes in Harlem, where I found clothing my size in fun colors. I still like to go there and see the vibrancy and colors of the neighborhood. I am also very influenced by the colors of my contemporary African and Japanese art collections.
I wanted to work in the arts. My dream come true would be to be an architectural historian and work with the royal palaces and all the fabulous art collections. But I'm not committed enough.
I have been a stalwart advocate for the legacy of Charles White. I have said it so often, it could go without saying. I have always believed that his work should be seen wherever great pictures are collected and made available to art-loving audiences.
Going to the Huntington gardens and libraries was radically important for me. They have one of the best collections of 18th- and 19th-century British portraiture that you can imagine in Southern California. One doesn't think about Southern California as being the capital of great art.
I had the fortune to evolve at a time when fashion was very important, and women dressed themselves very well. A woman who dressed very well also had a husband who would have beautiful collections of art and decorative objects.
I'm going to start these art museums that are basically converted homes, and I have one for modern art, and I have one for 19th century European art, and one for French impressionism. I've got Japanese.
I'm very interested in the idea of unusual museums, ones that are not necessarily contemporary art museums - more like historical collections or house museums.
As hard as I try I cannot get myself to three museums in any one city. The only museum I've ever really enjoyed was the Picasso Museum in Barcelona and I think that's because it's small and you can touch things.
There are so many great galleries and museums in London, but they can be very crowded during the day.
My job is art curator, not artist. All I have ever wanted to do is immerse myself in art, to enjoy it, to learn about it, to write about it, to talk to others about it.
The heaping together of paintings by Old Masters in museums is a catastrophe; likewise, a collection of a hundred Great Brains makes one big fathead.
I find old copies of National Gallery catalogues, which are written in the dryest possible prose, infinitely soothing.
