A Quote by Eli Broad

Most museums - with all their burdens to pay for exhibitions, administration, and security - really don't have any money really to acquire art, with few exceptions.
When it comes to immigration, I have actually put more money, under my administration, into border security than any other administration previously. We've got more security resources at the border - more National Guard, more border guards, you name it - than the previous administration. So we've ramped up significantly the issue of border security.
The way I look at it, everything is a trade. You acquire some money, so then you've got no financial burdens, but everyone wants your money and so who can you trust? Or you've got no money and you can trust anyone, but then you've got the worry to pay bills. Which is worse?
I always appear behind a mask. As such, I can visit my own exhibitions without any visitors knowing who I really am even if I stand a few steps away from them.
Many, indeed most, inhabitants of the Third World, don't necessarily share our ideas and beliefs; others pay lip service, but don't really comprehend them. There are exceptions of course, but most people are not exceptional.
During the last 35 years, the artists multiplied, the public grew enormously, the economy exploded, and so-called contemporary art became fashionable. All these parameters changed the art world form its previous aspects and fundamentals - the explosion of museums and institutions, explosion of Biennales and Triennials, explosion of money, explosion of interest, explosion of artists, explosion of countries interested in contemporary exhibitions, explosion of the public. Not to see that is to be more than blind.
There are very few people who really appreciate my shows. People come to the show and they pay and they enjoy it, but I don't really think most people really understand what they've seen.
I can fully understand [that] artists want to be able to pay their bills. As a fan of art, and art as a way to shift dialogue and address cultural issues, there's a part of me that's really, really saddened by that and can't really relate to it.
In China, we don't have any contemporary art museums. Until a few years ago, we didn't even have a gallery.
I personally have never trusted museums. ... It is because museums, broadly speaking, live off of the art and artifacts of others, often art and artifacts that have been obtained by dubious means. But they also manipulate whatever it is they present to the public; hence, until Judy Chicago, in the 1970s ... few women artists were hung in any major museum. Indian artists? Artifacts only, please. Black artists? Something musical, maybe? And so forth.
The relationship between art and a job is not quite linear, but I really love any and all manifestations of art, really respect any kind of artistic impulse, whether it's paintings and sculptures or really good filmmaking or music. I really see the relationships between these different mediums as very fluid.
I really like and singing, and songwriting and producing. It depends on the song and the mood and who I'm working with, what the song is about and where it came from, any number of things affect the levels of creativity. I try not to do too much delineating with my art. Really, it's art, so for me I don't have a most, I just really enjoy my entire process.
When museums are built these days, architects, directors, and trustees seem most concerned about social space: places to have parties, eat dinner, wine-and-dine donors. Sure, these are important these days - museums have to bring in money - but they gobble up space and push the art itself far away from the entrance.
Despite all the taxes people pay, there supposedly isn't any money in this country for art. Of course, this makes an artist ask himself: "Well, then, what are you doing with the 100 million I pay each year? What happened to that money?" And he doesn't get an answer.
My mother was a teacher, and when she wanted to show me art and literature and science, she'd take me to museums, parks and free exhibitions.
I'm very interested in the idea of unusual museums, ones that are not necessarily contemporary art museums - more like historical collections or house museums.
I'm a writer who doesn't much think about money because money doesn't really care about me. In other nations, art gets subsidized. Writers aren't wealthy by any means, but there's the idea that the state supports the creation of art.
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