Art Investment Quotes

Art dealing is when you're doing it as a business.

Now people look at 'The Scream' or Van Gogh's 'Irises' or a Picasso and see its new content: money. Auction houses inherently equate capital with value.

My wife was the first art collector in the family, and I didn't become interested until around 1973. The first important artwork we bought was a Van Gogh drawing of two peasant houses in Saintes-Maries-de-la-Mer.

All the rich people collect traditional Chinese art. So it's very natural for Chinese families to still see art as the highest human performance and send their children to this field.

I buy a lot of art. I buy Andy Warhols.

Believing that art is either worth a fortune or worth nothing at all.

I never expected to sell my art. It wasn't like today where you come out of art school and they promise you a future. Now it's almost regulated in a way. When we came out of school, we just wanted to make art that'd blow your hair back and do it for sport. There was no commercial possibility that we saw.

I especially like to collect contemporary art.

I think it's probably the Dutch who are to blame for starting the whole 'art business', because before they came along, art was attached to relatively stable structures, and it was everybody's. It was like going to the movies.

In a way, my father was lucky. He had a hunch that his vision of the National Gallery would interest other collectors and persuade them to come in with him, and that hunch proved to be right.

Art is a subjective thing, and it should be a subjective thing. And the difficulty of subjectivity is that it becomes hugely problematized when you start applying large sums of money to art objects. That's where it all starts to get a bit sticky.

I wouldn't give five cents for all the art in the world.

I really just started buying art as a passion. I never considered it an investment, but it ended up being a good investment.

I've become convinced that Los Angeles is going to become the next contemporary art capital - no other city has more contemporary gallery space than Los Angeles. We've come into our own, finally.

I think photography is being recognized and collected. Its values have certainly gone up and continue to go up.

I never can pass by the Metropolitan Museum of Art in New York without thinking of it not as a gallery of living portraits but as a cemetery of tax-deductible wealth.

The Louvre stopped buying paintings in 1848, and neither the Metropolitan nor the Hermitage acquire contemporary material.

I threw [Picasso's] drawing on the floor and in doing so, threw away about £50m.

I began collecting artwork as a way to help young artists to promote their work as well as to increase awareness of contemporary art among the younger generation.

Jeffrey Deitch is the Jeff Koons of art dealers. Not because he's the biggest, best, or the richest of his kind. But because in some ways he's the weirdest (which is saying a lot when you're talking about the wonderful, wicked, lovable, and annoying creatures known as art dealers).

I don't believe in selling art by transparencies. Art is a firsthand experience.

It's a great advantage to be able to play people off against each other, isn't it? You go to Christie's and get a quote on something. And then you go to Phillips' and you tell them what Christie's has given you. I like auctions for artists.

The New York gallery scene being as incredibly overpopulated and overmoneyed as it is, deep conflicts and contradictions aren't hard to find.

A painting probably is the most shocking increase in value, from what it costs to make to what you sell it for.

In the art world, Monet means money.