Zitat des Tages über Kunstwelt / Art World:
In the United States there has been a kind of a structure in the Modern art world. The New York School was nearly a coherent thing-for a minute.
I believe in advertisement and media completely. My art and my personal life are based in it. I think that the art world would probably be a tremendous reservoir for everybody involved in advertising.
An interesting thing happened in 1989, right as I was graduating: the stock market crashed and really changed the landscape of the art world in New York. It made the kind of work I was doing interesting to galleries that wouldn't have normally been interested in it.
Senator Helms might very well do that. I would point out to him that we in the art world are not necessarily in the business of making controversial art.
I've been slagged off completely by the art world.
The social dimension of the art world is fascinating to me, but I also want to entertain the reader, so I will let a character say something funny.
Stealing things is a glorious occupations, particularly in the art world.
I think the art world... is a very small pond, and it's a very inbred pond. They rely on information from an elect elite sect of galleries, primarily in New York.
I think rap definitely has its place in the art world. I think it is an art form. But, just like any art form, you can misuse it.
I don't have so many things in the fashion world that interest me. It's probably because I am so deeply into it. Often when you go very deep into something, you also discover what it's about, and you understand it better. With the art world, I still have a lot of curiosity.
I like that the art world isn't regulated.
A canon is antithetical to everything the New York art world has been about for the past 40 years, during which we went from being the center of the art world to being one of many centers.
I'm very hard on the art world just being a big business.
From 1940 to the present, the art world - and particularly Los Angeles - has undergone a transformation not unlike the Italian Renaissance.
When I was a kid and started to be obsessed by art in the 1980s, the art world was in this polarity Warhol/Beuys, Beuys/Warhol. Both expended the notion of art extremely, but in very different ways.
But you know in the contemporary art world, you pose a very interesting conundrum. All sorts of people collect very contemporary art, yet when it comes to the music which is analogous to that sort of art, they are not interested, or perhaps even hostile.
I like the idea of multidisciplinary conversations, so in that spirit, I try and make a contribution from the art world into the music world.
I don't know very many people in the art world, only socialise with the few I like, and have little time to gnaw my nails with anxiety about any criticism I hear about.
The smart thing in the art world is to have one good idea and never have another.
The reason the art world doesn't respond to Kinkade is because none - not one - of his ideas about subject-matter, surface, color, composition, touch, scale, form, or skill is remotely original. They're all cliche and already told.
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.
The rule in the art world is: you cater to the masses or you kowtow to the elite; you can't have both.
I have spent a lot of time in the art world, and I guess I do listen to how people speak. I'm interested in what they say and how they say it.
The art world has become the R&D department for so much fashion and music, so knock-offs are getting better and better.
Many people misunderstand me - I'm quite happy to be called a photographer. All of a sudden, the art world has caught up with photography, and they are trying to hijack us.
Art is for anyone. It just isn't for everyone. Still, over the past decade, its audience has hugely grown, and that's irked those outside the art world, who get irritated at things like incomprehensibility or money.
In a lot of the art world, you have to present yourself as you know what you're doing at a young age. Music gave me another outlet. The 'no wave' bands were such an inspiration; it felt so free - once you start doing it, it's hard to stop. But I can't get away from art. It comes back around. I wouldn't be true to myself if I didn't pursue it.
I don't want to do things because it will please other people. I'm not doing this to get fame or any attention. I try to be selective about who I get advice from. I would like to contribute to the art world, but, you know, you can't plan these things.
Damien Hirst is the Elvis of the English art world, its ayatollah, deliverer, and big-thinking entrepreneurial potty-mouthed prophet and front man. Hirst synthesizes punk, Pop Art, Jeff Koons, Marcel Duchamp, Francis Bacon, and Catholicism.
There are times when the art world seems like a religious empire. There are great cathedral galleries and pilgrimage sites where treasured art pieces are displayed like holy relics, and this can certainly be a great pleasure on a rainy Sunday afternoon.
I would say being deeply involved in the art world would help keep a young artist on track. Doing what you love, so that your focus is your artistry.
For me, there has always been a disconnect with the sort of elitist structure of the high-art world - and my distaste for that is at odds with my feeling that art should aspire to do great things.
The world of painting has nothing to do with the art world.
The concept of commercialism in the fashion and art world is looked down upon. You know, just to think, 'What amount of creativity does it take to make something that masses of people like?' And, 'How does creativity apply across the board?'
Poor Georgia O'Keeffe. Death didn't soften the opinions of the art world toward her paintings.
When we can't determine what is art - when you get to that point where we're not sure, that's the greatest likelihood that we're actually experiencing something great. But I think that's what the art world is most afraid of, because you lose that security. Then we don't know how to assign evaluation, whether it's cultural or otherwise.