On the whole, money does artists much more good than harm. The idea that one benefits from cold water, crusts and debt collectors is now almost extinct, like belief in the reformatory power of flogging.

The new job of art is to sit on the wall and get more expensive.

Most of the time they buy what other people buy. They move in great schools, like bluefish, all identical. There is safety in numbers. If one wants Schnabel, they all want Schnabel, if one buys a Keith Haring, two hundred Keith Harings will be sold.

At 40 years of age, I thought I knew everything. I got a reality check with this class. Kenny (Winston) has become like a big brother to me. We've learned to agree to disagree. I hope and pray that this program continues and we all keep in touch. I'm a st

Popular in our time, unpopular in his. So runs the stereotype of rejected genius.

The greater the artist, the greater the doubt; perfect confidence is granted to the less talented as a consolation prize.

Drawing never dies, it holds on by the skin of its teeth, because the hunger it satisfies – the desire for an active, investigative, manually vivid relation with the things we see and yearn to know about – is apparently immortal.