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'The Author' is subtly unflinching in its satirical attack on certain practices in the creation of art and the mediation of violence.

There is a satire that exists in 'My Arm,' but there is also an honoring of some of the stronger ideas that I've raided from visual art.

I am particularly interested in creating a relationship between ideas of reception in conceptual art and theater.

Art is a subjective thing, and it should be a subjective thing. And the difficulty of subjectivity is that it becomes hugely problematized when you start applying large sums of money to art objects. That's where it all starts to get a bit sticky.

With every role that I do, I always see a little bit of me, a little bit of art and life.

Publishing a protocol under the name Atom that tries to capture all of the prior art in this stage and might provide a good basis for winding down the syndication wars.

Seeing our kids' beautiful, colorful art hung on the wall brightens my heart and our home.

Our family is very art driven. We all love to create.

I want people to appreciate all the time and effort that I put into my art and my music.

I chose art, music, of course fashion, clothes, colors. I'm just expressing what I have inside and bringing it out.

That's what art is about: to create dialogue. Everybody deserves to have their own opinion.

I find love is the most vital part of life, of my art.

Chicago was where I realized that improv is its own thing, its own art form. And through that, you kind of develop a work ethic of not selling it short.

An art whose medium is language will always show a high degree of critical creativeness, for speech is itself a critique of life: it names, it characterizes, it passes judgment, in that it creates.

What I am out to do is make sure that the Met continues to be the most exciting encyclopedic museum in the world. I want to sustain the vibrancy that makes it exciting to work here, that makes it exciting for visitors. The art remains central.

The world of contemporary art has, in a way, exponentially expanded in the last couple of decades, and almost every major city in Europe and Asia and North America has fallen over themselves to have their own contemporary art museum.

I don't feel I'm trying to make art. I'm trying to make interesting things. People can relate to that.

No matter how hard I tried to popularize, I never cheapened a great work of art.

When I became director of the Metropolitan Museum of Art, it was stodgy, gray, run by elitists. I said, 'Hey, let's kick the thing around.' I wanted to attract young people to the museum. I said, 'Make it hospitable. I want them to come. I want them to make dates, pick up girls, pick up boys - either way; I don't care.'

Great art should be shown with great excitement.

If you don't work yourself up into a fever of greed and covetousness in an art museum, you're just not doing the job.

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