Artists who have produced experimental innovations have been motivated by aesthetic criteria: they have aimed at presenting visual perceptions. Their goals are imprecise, so their procedure is tentative and incremental.

Artists who have produced experimental innovations have been motivated by aesthetic criteria: they have aimed at presenting visual perceptions. Their goals are imprecise, so their procedure is tentative and incremental.

Experimental artists build their skills gradually over the course of their careers, improving their work slowly over long periods. These artists are perfectionists and are typically plagued by frustration at their inability to achieve their goals.

It's not curators, it's not critics, it's not the public, it's not collectors who find great artists - it's other artists.

There are two very different types of artists: those I call Old Masters, who work by trial and error and tend to improve with age, and conceptual people, or Young Geniuses, who generally do their best work early in their careers.

The people who do better and better work are people who are never satisfied. Cezanne would say, 'I think I've accomplished something,' but then he would immediately add, 'But it's not enough.

Artists have made innovations in many areas... But whatever the nature of an artist's innovation, its importance ultimately depends on the extent of its influence on other artists.