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The reason the art world doesn't respond to Kinkade is because none - not one - of his ideas about subject-matter, surface, color, composition, touch, scale, form, or skill is remotely original. They're all cliche and already told.

I have always dreamed of bringing an exhibit of Mark Rothko to Moscow.

Often the art in a video game is like glorified Thomas Kinkade, but some of it is genuinely enchanting and compelling.

I've got a nice collection of paintings - a Basquiat, a black-and-white Warhol that's like a Rorschach test, and I commissioned Takashi Murakami to do a ten-foot joint for me. It's almost like the explosion in Hiroshima with his famous skeleton head. There's a wall above my fireplace reserved for it.

There was a belief after World War I that painting could be an act of civil revolt. I want this exhibition, 'New Museum,' to be an act of civil disobedience. It's not so much about the New Museum on the Bowery, but the idea of challenging museums as projections of cultural authority. It's painting as insurgency.

It is hard to imagine Thomas Kinkade as anything less than supremely self-assured.

Senator Helms might very well do that. I would point out to him that we in the art world are not necessarily in the business of making controversial art.

Real art is one of the most powerful forces in the rise of mankind, and he who renders it accessible to as many people as possible is a benefactor of humanity.

The artist is the medium between his fantasies and the rest of the world.

'The Art of the Brick' is an exhibition I've done where I've taken some works of art from art history and replicated them all out of Lego bricks.