Art can contextualise and buttress fame. So rather than being antagonistic in the way Fugazi would have had it in 1989, particularly in the present, maybe they are one - they belong to one another.
Somewhere a portion of contemporary art has to exist as an example of what the art and its context were meant to be.
Silence is, after all, the context for the deepest appreciation of art: the only important evaluations are finally, personal, interior ones.
Being a good Hans Haacke student, part of his influence on me is that there's no difference between a gallery show and a film - or even an ad and a T-shirt-in terms of cultural legitimacy. They're just different contexts in which to have some sort of communication.
They are works of art that can be considered works of art but don't have to be in the collection of the Metropolitan Museum.
Maybe now if you're not an exhibitionist you're private. Or maybe it's just that for a lot of people - sometimes in interesting ways, sometimes in stupid ways - there's no division between the art object and what surrounds it.
It was always my intention that The Frieze should be housed in a room which would provide a suitable architectural frame for it.
I spend much more time looking at art history and at different references to art than I do at actual objects.
I’ve learnt from experience that a painting isn’t finished when you put down your brush – that’s when it starts. The public reaction is what supplies meaning and value. Art comes alive in the arguments you have about it.
When art works travel from place to place, what you have is the opportunity to engage with the intellect of another person who has made a thing that should have enough information in it in the way it's constructed to start thinking about why that picture got made - not why it is relevant to you.
When works of art are presented like rare butterflies on the walls, they're decontextualized. We admire their beauty, and I have nothing against that, per se. But there is more to art than that.
Our experience of any painting is always the latest line in a long conversation we've been having with painting. There's no way of looking at art as though you hadn't seen art before.
Like any artwork, things become richer if you know more about them; but I don't think that's crucial.
The Elgin Marbles were supposed to be on the Parthenon. For many works of art, a museum is an artificial setting - a zoo, not a natural habitat.
I think you always have to find where the boundary is in relation to the context in order to be able to kind of articulate how you want the space to interact with the viewer.
It's funny how the beauty of art has so much more to do with the frame than the artwork itself.
In art it is always as though the question is what the work of art is really about.
I can consider not only great art, but the context in which that art has been created. I can consider the people who paid a price for that art to be created and whether or not I want to appreciate that art on their backs.
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.
I don't like the word 'experiment' in the context of art in general. It implies something immature, unfinished, something entertaining for a moment before it becomes irrelevant.
Art is more than a series of images that are disembodied. Art is objects that live in real places, economies, spaces, architecture.
People act like art is a white thing - or not for people of colour - when, really, so much culture and art comes from people of colour. I want everyone to get into what I am doing. So sometimes I don't like to work just in an art context because it feels like a lot of people aren't going to see it. I like it to be a part of everyday life.
A work of art when placed in a gallery loses its charge, and becomes a portable object or surface disengaged from the outside world.
Art needs to be socialised, and you need a lot of context to understand that, and that doesn't mean having read a few art history books.
Each museum is different - the collection is different, the context is different, the relationship between the art and architecture is different.
