The biggest challenge is how to affect public attitudes and make people care.

The greater the decrease in the social significance of an art form the sharper the distinction between criticism and enjoyment by the public. The conventional is uncritically enjoyed and the truly new is criticized with aversion.

In an era ruled by materialism and unstable geopolitics art must be restored to the center of public education.

The public history of modern art is the story of conventional people not knowing what they are dealing with.

Kinkade's paintings are worthless schmaltz and the lamestream media that love him are wrong. However I'd love to see a museum mount a small show of Kinkade's work. I would like the art world and the wider world to argue about him in public out in the open.

Outside museums in noisy public squares people look at people. Inside museums we leave that realm and enter what might be called the group-mind getting quiet to look at art.

It was Public Art defined as art that is purchased by experts who are not spending their own personal money.

Art is only a means to life to the life more abundant. It is not in itself the life more abundant. It merely points the way something which is overlooked not only by the public but very often by the artist himself. In becoming an end it defeats itself.

The history of modern art is also the history of the progressive loss of art's audience. Art has increasingly become the concern of the artist and the bafflement of the public.

Doctrines provide an architecture for both Republican and Democrat presidents to carry out policies.

Architecture is about public space held by buildings.

Bridges are perhaps the most invisible form of public architecture.

It is a matter of public shame that while we have now commemorated our hundredth anniversary not one in every ten children attending Public schools throughout the colonies is acquainted with a single historical fact about Australia.

The anger in the Brigade against those who fought the Republic in the rear was sharpened by reports of weapons even tanks being kept from the front and hidden for treacherous purposes.

There are people still in the Republican Party that I believe practice the communication of anger of disappointment of regret of pain of sorrow of suffering. That's not what the American people want to hear.

On banks I make no apology for attacking spivs and gamblers who did more harm to the British economy than Bob Crow could achieve in his wildest Trotskyite fantasies while paying themselves outrageous bonuses underwritten by the taxpayer. There is much public anger about banks and it is well deserved.

Shock confusion fear anger grief and defiance. On Sept. 11 2001 and for the three days following the worst terrorist attack on U.S. soil President George W. Bush led with raw emotion that reflected the public's whipsawing stages of acceptance.

Expressing anger is a form of public littering.

The Beethoven Experience provided the opportunity to solidify the relationship between the Orchestra and me the Orchestra and me and the public between all of us and the city of New York because Beethoven after all is a really amazing point of reference.

It is amazing how the public steadfastly refuse to attend the third day of a match when so often the last day produces the best and most exciting cricket.

I wouldn't be where I am today without the amazing public arts education that I had.

My public image is so low-key but I get to travel the world and still have an audience and it's really amazing. I don't take that for granted.

We are on the precipice of a crisis a Constitutional crisis. The checks and balances which have been at the core of this Republic are about to be evaporated by the nuclear option. The checks and balances that say if you get 51% of the vote you don't get your way 100% of the time. It is amazing it's almost a temper tantrum.

I loved hip-hop. The first stuff I heard was Public Enemy and I couldn't believe it. It was amazing and I've always loved hip-hop.