Observe that it is a great error to believe that all mediums of art are not closely tied to their time.

We always have a great time touring Germany, but one of my favourite museums in the world is Museum Ludwig, an incredible contemporary art museum in Cologne. I could spend all day in it.

Over the years, I have perfected the art of dancing and photographing at the same time: it's a great double act. If you're dancing, you are joining in. If you stand there rigid, you are not in the flow of things.

I've never been what they call a 'pure gallerist.' I find that somewhat pretentious, honestly - I'm an art dealer. I like to show great artists of our time, but I also like dealing. And I think they reinforce each other.

I'm from the beatnik generation, where everybody wanted to be a poet or writer or something. And at that time, I was a jazz critic, and I was always thinking, theorizing about what makes great art or what's important in art.

The real art of what we do, at least back in the old-school days, was improv. If you were a great worker, you were able to adapt and that skill developed over time because of all the traveling and working in different areas. You learned how to read a crowd.

It's the word 'artful'; it's such a great word, with its dark and its light side, its art and its cunning, the craft and the crafty of it - I've been preoccupied with the word 'artful' and the twin notions of 'cornucopia' and 'pickpocket' it suggests for quite some time.

I myself saw the great works of Western civilization for the first time in my high school in Lithuania in bad black-and-white reproductions on miserable paper. That was, for many years, what art was for me. But from those miserable black-and-white reproductions, I got something, something unmistakable.

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