Artistic Exchange Quotes

I was excited by what my painter friends were doing, and they seemed to be interested in our poetry too, and that was a wonderful little, fizzy sort of world.

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 find the working pattern to be the same in Bollywood as well as Tollywood. Especially because most directors of photography from the Telugu industry operate in Bollywood, too.

My goal is to communicate how powerful the breaking down of artistic barriers can be when grounded in thought, intention, and a true understanding of all the forms that are being experimented with.

The more I get to know more artists, the more they inspire me.

To sit next to Walter Hill, and to be able to exchange ideas back and forth, and for him to be able to tell you that he likes what you're doing - I don't know. I kind of pinch myself.

There should be change - the West should understand our music and culture, and vice versa. With such collaboration, artists can come closer to each other and come to know each other.

I think Prince should open up a little more to other artists. Just because we love Prince. Especially the old stuff - we love him to death. But if he opened up he would be something to deal with. Imagine Kanye West producing a Prince track? It would be banoodles!

I think if a Swiss watch can come to the country and have their own corporate stores, a Pakistani actor should come here and do a film here in India.

There was a lot of stuff happening in Havana that was being heard and appreciated by New Orleans musicians because of this situation. And vice versa.

Collaborating with other artists is an emotional thing. Obviously, you don't do it unless this person inspires you.

As a Japanese actor, I really want to work with a lot of actors and actresses in the world and many directors who have many different kinds of talents. I feel like nationally doesn't matter at all.

You can have all sorts of relationships, but there's something with musicians working together where you can have relationship that can just continue to grow in a beautiful way.

Creating is about sharing ideas, sharing aesthetics, sharing what you believe in with other people.

An exhibition is in many ways a series of conversations. Between the artist and viewer, curator and viewer, and between the works of art themselves. It clicks when an exhibition feels like it has answered some questions, and raised even more.

Our artistes should be allowed to go to Pakistan just as we welcome their artistes.

I like a lot of international people. Julie Taymore, the American director - she's one of the most exciting directors I've seen.

I hope to make the process of producing my take of the Biennial a transparent and interesting one for artists.

It doesn't matter if they're famous or not - I just want to meet other creative people who can maybe bring something different to the studio than what I have. I think that's the most important thing for me.

When I was 17, I met many artists, and it started to become this conversation with artists out of which all of my exhibitions grew.

Appropriation is a fact of life; no point in complaining about it. But if that's the way the game's being played, let's do it on both sides. I don't want some white guy making 'A Rage in Harlem III' if I can't do 'The Godfather V' or 'E.T. III.'

When I have a writing workshop, I like to have people that are anthropologists and people who are poking around in other fields, I like to have them all in the same workshop, and not worry about genre. I like to mix it up, because the kind of comments you can get from a fiction writer about your poetry are going to be very different than what you'll get from a poet. Or the comments you'll get from a filmmaker about your performance are going to be very different. My writing workshop is about mixing it up, cross-pollinating, not only in genres but in occupations.

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.

I would love to collaborate with Hariharan Sir.

What inspires me is not so much the music as the opportunity to interact with composers. I think that has driven everything I've done.