My family was never cultural in that we never went to see plays, my mum wasn't very into films.
When some people were going around being surf bums and tennis bums, I was being a gallery bum. I really liked galleries.
If I had money, I would like to get an old building, have music performances, do lithographs, have shows of paintings, and do those things that I'm interested in doing.
For me, the making of exhibitions has always had to do with dialogue: a concentrated, in-depth, focused dialogue with artists, who keep teaching me that exhibitions should always invent new rules for the game.
I'm working hard with more determination than ever. My success at the Salon led to my selling several paintings and since your absence I have made 800 francs; I hope, when I have contracts with more dealers, it will be better still.
When I was a teenager, I never knew anything about art. I think in South Africa at that stage, no one was really exposed to it. There were no museums that had great artists in them.
I especially like to collect contemporary art.
Our intention is to develop music, theatre and exhibition activities on the Far Eastern regions.
Even when I was a little girl, I remember going to the Museum of Modern Art. I think my parents took me there once or twice. And what I really remember is the design collection.
The role of a museum of modern art is to make a good selection and identify what we believe to be the coming movements, and that requires taste.
I have a publishing company of books by me and books of others. It drew people to poetry readings and photo exhibitions and painting exhibitions that I've been doing for years before that.
I'm a huge art buff.
I'd always been extremely fascinated by the French Nuit Blanche, which is a weekend that they have in Paris where they keep all the museums open until dawn. You can go and hang out in Versailles in the middle of the night and watch the sun come up.
I've become convinced that Los Angeles is going to become the next contemporary art capital - no other city has more contemporary gallery space than Los Angeles. We've come into our own, finally.
I joined the Young Philanthropists Circle at the Musee Des Beaux Arts, we have little events every month where you learn about a different artist and you see the exhibit and you get an inside an inside look at the technique used.
I had an idea for a technologically advanced luxury watch. I got involved in digital art and neon painting and put on shows of my work.
I used to think of exhibitions as being practice but they are not.
You should definitely visit the Louvre, a world-famous art museum where you can view, at close range, the backs of thousands of other tourists trying to see the Mona Lisa.
In China, we don't have any contemporary art museums. Until a few years ago, we didn't even have a gallery.
I've been an art collector since the Sixties, and I kept it very separate from my showbusiness career. I've had art shows since the early Nineties, a museum show that travelled to four countries. I've had three or four art books; it's just another way I have to tell stories.
I haven't been that great at attending my own openings. Still, I'm learning to enjoy this a lot more than I used to.
When I started writing about art, there were no curators.
It's a mystery to me the way that contemporary art galleries function.
If only we could persuade galleries to observe a fallow period in which, for two months every other year, new and old works of art could be sold in back rooms and all main galleries would be devoted to revisiting shows gone by.
The Whitney is a museum that has a great rapport with younger artists and the community.
