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.

The greater the artist, the greater the doubt.

What we need more of is slow art: art that holds time as a vase holds water: art that grows out of modes of perception and making whose skill and doggedness make you think and feel; art that isn’t merely sensational, that doesn’t get its message across in ten seconds, that isn’t falsely iconic, that hooks onto something deep-running in our natures. In a word, art that is the very opposite of mass media.

On Platini's presidential watch... he has to balance all the leagues, all the dreams and needs of hundreds of clubs across his continent.

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.

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

We want to create a sort of linguistic Lourdes, where evil and misfortune are dispelled by a dip in the waters of euphemism