Is making art different in Europe?

It is distinctly different and one of the dilemmas of making work here in the United States is that it’s a democratic process here. In Europe, it’s much more autocratic, it’s clearly decided by people that may be museum directors or people that have a very frontline knowledge of what modern art is and they make decisions and the public would be damned, they’ll live with it. The public will avoid that. That’s kind of a European take. And it results in some of the best work being made there. And sort of this dilemma here that we have this democracy that ethically should be stronger but makes for a deluded public art possibilities here. It really limits the possibilities of sort of frontline work.

The fact that Richard Serret cannot work in this country and can’t a public commission in the United states is I think one of the—it’s something that we should—it’s a national shame. You know, it would be seen historically that way. You know, one of the greatest sculptures of the period and unable to work in our country. What does that mean? I mean, the reversal is to say, “Who could work in Germany in the 30’s?” It’s that kind of intolerance but it’s strange because it has—it’s a result of this democracy, I think. So it’s one of those dilemmas I haven’t resolved. I don’t know what the answer is to it.