Art Space Quotes

Just as the development of earth art and installation art stemmed from the idea of taking art out of the galleries, the basis of my involvement with public art is a continuation of wall drawings.

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.

Art in progress. MAK has occupied a unique and valuable space as international host for discourse between the arts and architecture.

Mission accomplished. The Museum of Modern Art's wide-open, tall-ceilinged, super-reinforced second floor was for all intents and purposes built to accommodate monumental installations and gigantic sculptures, should the need arise. It has arisen.

When my kids were young, we used to go to a place called The Shrine of the Black Madonna in Houston. It was an African-American bookstore where they sold paintings, but they also had a room that was an all-purpose center. If you wanted to have a dance recital or anything that was related to the community activities, you could have it there.

Your rainbow panorama enters into a dialogue with the existing architecture and reinforces what is assured beforehand, that is to say the view of the city. I have created a space which virtually erases the boundaries between inside and outside – where people become a little uncertain as to whether they have stepped into a work or into a part of the museum. This uncertainty is important to me, as it encourages people to think and sense beyond the limits within which they are accustomed to moving.

I love the studio. It's my place to escape and to create and to try anything.

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.

Recycling old buildings to show art is very important.

You don't always have to show art in what's called a white box; you can have a kind of complexity within an exhibit which actually respects the art as well.

I miss Dia. In the early '80s I was a guard at one of Dia's facilities in SoHo, and I'm sad that they closed their Chelsea space.

It was at a performance art space that's no longer around, Gusto House... All of these great performers from all over the country lived on the Lower East Side, and they would take somebody's living room that opened right onto the street, open the door and charge tickets and put up chairs.

In a place like the Guggenheim, I would like to be a representative of arte povera. This would be my ideal.