I actually like the collaboration of working with different artists.
When you're an artist, you're generally working at home alone in a studio. It's just really good to get with other guys and make art something you can share.
A mistake I've made is I have not worried sufficiently about the art world, really. I have not concerned myself with the other people in the art world. I've been a little too singular, and that's a mistake I've made. But everybody makes a mistake of some kind, and if that's my only mistake, I'm happy.
As an artist, I've always wanted to participate in the dialogue of art with other artists.
I think it's important that your work is in conversation with artists in your community.
The advice I would give to girls from Eastern backgrounds who are interested in the arts is that it is always beneficial to get your academic studies out of the way before going into the competitive world of the arts.
I consider myself a multi-platform artist - not just a street artist - but the audience I found through street art has created many of the opportunities I now have on other platforms.
I wanna grow and develop as an artist, and I feel like different kinds of collaborations can only help me in that way.
I worked as an artist, played in a band, met Andy Warhol, Christo, Lou Reed, and David Byrne. I had fun.
I have always wanted to have a cultural centre where people can sort of have a community of artists and like-minded people sharing their work.
Biennial culture is already almost irrelevant, because so many more people are providing so many better opportunities for artists to exhibit their work.
In Australia, there aren't a lot of people committed to art, so these communities form that are dedicated to music, theater, cinema, but they're very small. So, they tend to move ahead on the power of collaboration, enthusiasm and creativity.
I love being around great artists, and I've been around a few of them.
It is possible to work out of New York on film and television and still not lose your connection to theater.
If you were a painter and a rock and roll musician and weren't established in either - to be an artist today you have to be as much a businessman to succeed, you have to spend an equal amount of time doing business as you spend doing your craft.
I want to be a pan-India artist.
It's only artists who can help artists.
Performa's founder and prime mover, Roselee Goldberg, has great instincts for which artists might collaborate well together.
What I am sad about is that there is now, in America, no equivalent to the art circuit.
People ask me if I ever feel outside the Hollywood loop, and I never do, because both of us do a lot of theatre, so it's great for New York and it's also half-way between Europe and the west coast, so it's the best of both worlds.
I literally have my hand in every aspect of the art world that you could imagine. That's what I've always done.
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 hold strongly to my identity as a Chicago artist and want to do whatever I can to participate in creating a strong community here so that artists don't feel pressure to move somewhere else to succeed.
The really cool thing is all about being able to take your movie around and show it. It puts you in direct contact with people who are like-minded and interested in similar things. I think the film festival circuit has certainly helped to foster the community.
I was so impressed with the work we were doing and I was very involved ideologically in photography - that I arranged an exhibition at the College Art Association. The first exhibition I picked the photographs and so on and we had an exhibition in New York.
