Art Installation Quotes

That was a piece I did in 1963 with Konrad Lueg in a department store, in the furniture department. It was announced in some papers as an exhibition opening, but the people who came didn't know that it was to be a sort of Happening. I don't think it is quite right that it has become so famous anyhow. It was just a lot of fun, and the word itself, Capitalist Realism, hit just right. But it wasn't such a big deal.

A ceiling fixture that places a floating assembly of large pebbles below a simple modern aluminum disc. These in turn reflect each other, bouncing light between their taught bio-morphic surfaces and reflecting the environment around them. During the day, the piece acts as a sculptural object reflecting the dynamics of natural light and movement of people around them.

Many of our buildings have large format murals that are of varying subject matter, and we've found that those are the sort of things that make people stop, digest, and absorb.

I may not be much good at most things, but if I didn't have the pleasure of planning and installing shows, and doing it better than anyone else, I would have stopped buying art many years ago.

It was hard to see the ‘art’ because everything partook of the art. Even the victrola had been painted so as to be in harmony. I must have missed a lot, because it was all one big decor, and the things in the foreground were lost against the things behind. But behind all was the wall running from one window to the other and at a certain spot Mondrian had tacked on it rectangles of the primary colors, and black, gray + white. In fact there were several whites, some shiny some matte.

Perhaps at some time in the future, when you ask a friend to come up and look at your etchings, you will plug in your collection of video art.

I also hang the pictures low rather than high, and particularly in the case of the largest ones, often as close to the floor as is feasible, for that is the way they are painted.

'A Small Band' was commissioned for the facade of the Central Pavilion at the Fifty-Sixth Venice Biennale in 2013.

Bend color names which should be made of neon or copper tubing. Place an object on a surface - trace the object - then bend the object - leaving some part of it attached.

If some of our works are symphonies, then wrapped walkways was chamber music.

I want everything to build and create a massive artwork composed of different songs, colors, physical art and visuals.

As far as paintings go, I always think about what it's like to move them and hang them up and hope they don't drop. To me, that seems like a big gamble, but that comes from me not being a painter.

Just because you go to Burning Man doesn't make you Hunter Thompson.

What makes Burning Man special is the location: a 9-mile circle of gypsum, an ancient dried ocean bed. The ground is like a flat crust with no plants or insects, a perfect outdoor gallery for monumental interactive sculpture and architecture.

Mission accomplished. The Museum of Modern Art's wide-open, tall-ceilinged, super-reinforced second floor was for all intents and purposes built to accommodate monumental installations and gigantic sculptures, should the need arise. It has arisen.

I'm doing quite a few things now. In one day, I will go to Kassel, Germany, for a documentary project I've been preparing for half a year. I will bring 1,001 Chinese to participate as my artwork there - any Chinese who is a Chinese passport holder and over eighteen years old could apply through my blog. I'm just bringing them to Kassel to see the art show, and pay their room and board.

When you walk down the street and see something in a crazy spot, there's something powerful about that. The street will always be an important part of getting art out there for me.

At the opening of our exhibition at Deitch Projects in New York we featured a wall of 10,000 bananas. Green bananas created a pattern against a background of yellow bananas spelling out the sentiment: Self-confidence produces fine results. After a number of days the green bananas turned yellow too and the type disappeared. When the yellow background bananas turned brown, the type (and the self-confidence) appeared again, only to go away when all bananas turned brown.

You absolutely cannot be big time tech guy without attending Burning Man.

In 1981, I think, for the Kunsthalle in Düsseldorf. Before that I designed a mirror room for Kasper König's Westkunst show, but it was never built. All that exists is the design - four mirrors for one room.

Burning Man is like one big giant art installation in the middle of starkly beautiful desert landscape, and the attendees are creative in the way they dress.

Not all Peter Greenaway's stuff is sequential, narrative story. Some of it is like an art installation and I'm not particularly interested in being in an art installation to be honest. I'm interested in the story.

Your rainbow panorama enters into a dialogue with the existing architecture and reinforces what is assured beforehand, that is to say the view of the city. I have created a space which virtually erases the boundaries between inside and outside – where people become a little uncertain as to whether they have stepped into a work or into a part of the museum. This uncertainty is important to me, as it encourages people to think and sense beyond the limits within which they are accustomed to moving.

In 2009, I began creating 'Waterworks' with the new vernacular coming from the 'Signs of Life' work in Las Vegas.

Me and Mr. Brainwash in Toronto signing his mural at Hard Candy Fitness Opening! #artforfreedom