A Quote by Amanda Hearst
Zaha Hadid's Maxxi Museum is proof that Rome and contemporary architecture are no longer a paradox. The building is characteristic Hadid - with curving lines and organic shapes - and the permanent collection already boasts works by Francesco Clemente, William Kentridge, and Gerhard Richter.
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Many years ago, we were only able to build boxes. Today, architects from all over the world are working with us - Zaha Hadid from London, Gerkan, Marg and Partner from Hamburg, Kengo Kuma from Japan. We brought design and digitalization from abroad to China.
Diane Kruger looks pretty awesome on the red carpet and is effortlessly cool. I'm also a fan of Bella Hadid and Hailey Baldwin.
The museum in D.C. is really a narrative museum - the nature of a people and how you represent that story. Whereas the Studio Museum is really a contemporary art museum that happens to be about the diaspora and a particular body of contemporary artists ignored by the mainstream. The Studio Museum has championed that and brought into the mainstream. So the museums are like brothers, but different.
The 'Robben Island Bible' has arrived at the British Museum. It's a garish thing, its cover plastered with pink and gold Hindu images, designed to hide its contents. Within is the finest collection of words generated by human intelligence: the complete works of William Shakespeare.
It has been jestingly said that the works of John Paul Richter are almost unintelligible to any but the Germans, and even to some of them. A worthy German, just before Richter's death, edited a complete edition of his works, in which one particular passage fairly puzzled him. Determined to have it explained at the source, he went to John Paul himself. The author's reply was very characteristic: "My good friend, when I wrote that passage, God and I knew what it meant; it is possible that God knows it still; but as for me, I have totally forgotten."
I have done only two portraits: one of the artist Francesco Clemente and another of Andy Warhol.
When I was growing up, all the art that touched me was lens-generated, like Gerhard Richter, or Polke, Rauschenberg, Warhol.
I've always been more of the athlete in my family, but Bella [Hadid] is just good at - when she needs buckle down for like two weeks and be in [the gym] every day, she's really good at that.
So here I stand before you preaching organic architecture: declaring organic architecture to be the modern ideal.
Bella [Hadid] is also very naturally gifted in beauty so she can also go whenever she wants to go to the gym.
A sad fact of life lately at the Museum of Modern Art is that when it comes to group shows of contemporary painting from the collection, the bar has been set pretty low.
Decades ago, Gerhard Richter found a painterly philosopher's stone. Like Jackson Pollock before him, he discovered something that had been in painting all along, always overlooked or discounted.
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.
A museum has to renew its collection to be alive, but that does not mean we give on important old works.
I'd been asked by Takashi Murakami to collaborate on something, which was an honor for me. I was really pleased. And then he had me as a guest speaker on his radio show, and we were talking about art. I don't think he knew I was interested in the topic - he was really surprised to find out that I own some original Andy Warhol and Gerhard Richter and Jean-Michel Basquiat works. So, in some ways, I think he simply wanted to see what I have.
I'm not really an art collector - I'm more of a person who picks up things. I have pieces by people like Gerhard Richter, for example, but then also others by unknown Japanese artists, and not many real art collectors do that.
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