My own interest in art was because of my mother. My father didn't like contemporary art, so he didn't give her large sums to spend. So, she began buying prints and drawings. During my school days, I remember sitting in on many of the early meetings.
I feel like contemporary art is everywhere now and with the rise of the internet, it's so much easier to see what artists are doing and to follow their careers.
There are no categories in contemporary art. There are no rules. Artists are given the freedom to make and create whatever they please and call it whatever they please. I identify with that system, or lack of system, much more than I do the landscape of contemporary publishing.
By 3000 B.C. the art of Egypt was so ripe and so far advanced that it is surprising to find any student of early culture proposing that the crude contemporary art of the early Babylonians is the product of a civilization earlier than that of the Nile.
We are concerned with the relationship between art and life. Contemporary art is only intelligible in terms of its relationship to our life.
I found that a lot of people ridiculed contemporary art. I decided I wanted to be involved in art everybody could understand.
We have created indoor installations inside museums, like the Wrapped Floor at the Museum of Contemporary Art in Chicago in 1968, and not monumental at all by any standards.
By the late Nineties, we had become a more visual nation. Big-money taste moved to global standards - new architecture, design and show-off contemporary art. The Sloane domestic aesthetic - symmetry, class symbolism and brown furniture - became as unfashionable as it had been hot in the early Eighties.
People don't like contemporary art, but all art starts life as contemporary - I can't really see a difference.
If art is any good, it has so much of a longer trajectory than one night. Contemporary art is separate from art openings. In the end, it depends on the strength of ideas in each piece.