What's happening in the larger world always influences art. When I first started the gallery in 1959, one of the first things I learned was that most people assume artists know one thing and one thing only - that they were idiot savants. I found very quickly that most artists were very informed and very aware of what was happening in the world around them. So all of those things go together, especially for earthworks. And at that time there was such an intense interest in American art. So there was a great deal of attention paid to where it was going.
My influences were from Europe from between 1900 and 1945. My favorite artists were Egon Schiele or Edvard Munch. I wasn't interested in contemporary art at all.
Elvis Presley, The Everly Brothers, and a lot of American artists were my greatest influences.
A lot of music influences me in other ways than this, but I've always taken a lot of influence from Stevie Wonder, Frank Ocean, and Jeff Rosenstock for the Rex music. They were also the first three artists that released albums where I enjoyed every song.
My biggest influences when I was a kid - I listened to a lot of top 40 radio, so whatever the big artists were, so, like, the mid-'80s.
When I try to explain to people the big influences in my life, or at least when I first started, the most important ones were my friends who were also writing songs and were typically four or five years older than me.
When I first started blogging, it was about getting out new music and capturing artists working in the studio. This was before artists were so social. They weren't so hands-on then.
I would love to play a superhero. I sometimes walk around thinking, 'If I were a superhero, what would my superpower be?'
When I first came to New York, in the '70s, artists were certainly divided about the Andy Warhol persona, and about the work. I thought it was utterly cool - I thought the Factory was utterly glamorous - but there were a lot of artists I really admired and respected who were older that kind of dismissed it, couldn't get it, and felt that there was a lack of seriousness about it.
We were surrounded by influences and interests that came between Stephen and me. The nurse who became his wife was seeking to undermine me, and there were wider influences, too, following the runaway success of 'A Brief History of Time.'
I think that the superhero-as-metaphor involves a superhero being some sort of intellectual, emotional, or other such concept writ large. But I don't know that it's a necessary part of the appeal that the superhero be superior.
Probably my favorite artists to listen to James Taylor, Stevie Wonder - I haven't gone back in a really long time and really listened to them - my first guitar influences. It's been awhile since I revisited that.
When I first started, in 2006, it was an exciting time. Independent, cool, weird artists were being successful, and magazines were writing about them, and people were getting played on radio that were, like, really good.
At one point, I worked up a list of five requirements for a superhero: superpowers, a costume, a code name, a mission, and a milieu. If the character had three out of the five, they were a superhero. But that's just my definition.
If you've learned anything from the modern superhero myth, if you see a bat around and it bites you, you have a 75 percent chance of ending up a superhero. Otherwise, you'll probably get really sick. But it'd be cool to be a superhero. You don't need to be too afraid.
At first, I had this huge desire to play a superhero, that little kid in me. Then I realized it wasn't actually a superhero I wanted to play: it was someone fighting for a cause that's bigger than themselves, which can go into all sorts of things.