The media, the galleries, the collectors - it's all very chaotic actually. The artworld doesn't have this defined corporate structure that people imagine.
The heart of Paris is like nothing so much as the unending interior of a house. Buildings become furniture, courtyards become carpets and arrases, the streets are like galleries, the boulevards conservatories. It is a house, one or two centuries old, rich, bourgeois, distinguished. The only way of going out, or shutting the door behind you, is to leave the centre.
He who seeks to approach his own buried past must conduct himself like a man digging... This confers the tone and bearing of genuine reminiscences. He must not be afraid to return again and again to the same matter; to scatter it as one scatters earth, to turn it over as one turns over soil.
At work people are expected to be at the beck and call of employers all the time. You have blackberries and other things, and they just don't leave you alone. People have less time just to drop into an art gallery.
I lived through being pooh-poohed by fine art galleries, saying, "Digital is going to destroy the meaning behind photos." The motion side, the moment all of the cameras come alive with that motion, it was like a dream come true. It enables people to economically experiment with film.
I read a lot of social history. If I'm in an art gallery and a picture intrigues me, I immediately write down the title and I google it. I do a lot of googling and looking out for good stories. I can almost smell them sometimes.
I have an exclusive gallery that takes care of the all of my artworks. I want to stay focused on the art and of creating and let my gallery take care of the more commercial aspects.
The 10 or 12 artists I have known really well all my life are at least as competitive as professional athletes. They may express it in slightly different terms, but you look at the Jackson Pollocks et al., and they are as interested in wall space in the galleries as Joe Montana is in the percentage of completed passes. So the notion that symphonic conducting, or stage play, or pure art, is not a competitive business is real bullshit.
The fans, I loved them. My mother would be in the gallery, I would look right at my mother and not remember.
I think the British learn their history through the prism of this gallery of grotesques known as the royals.
She went out in the city with its lights like a radioactive phosphorescence, wandered through galleries where the high-priced art on the walls was the same as the graffiti scrawled outside by taggers who were arrested or killed for it, went to parties in hotel rooms where white-skinned, lingerie-clad rock stars had been staying the night their husbands shot themselves in the head, listened to music in nightclubs where stunning boyish actors had OD'd on the pavement.
I love the idea of bringing my work to the general public, not just people who go to gallery openings.
We spend more time at cinemas, theaters, art galleries and theme parks than we do at churches, and they have become our new cathedrals. We can spend hours at any of these places of entertainment but if church service goes on too long we get impatient.
In art school, I started to see Pettibon in magazines, and I figured it out backward. I was into the idea that someone could show work in galleries while making album covers and photocopied books.
I know street art can feel increasingly like the marketing wing of an art career, so I wanted to make some art without the price tag attached. There's no gallery show or book or film. It's pointless. Which hopefully means something.
When you fall in love with a work of art, you’d die to meet the artist. I am a student of the galleries of Pacific sunsets, full moon rises on the ocean, the clouds from an airplane, autumn forests in Raleigh, first fallen snows. And I’m dying to meet the artist.
Galleries in the West have probably been looking for exoticism. That's the reason my paintings initially sold well, I think. And then once they started selling, people said my works were very detailed. They may have represented something Japanese to them.
Art shouldn't be locked away in galleries and libraries and books. Art should be for everybody and not just art buffs, historians and so-called experts.
The Winnipeg Art Gallery has a good collection of Inuit art, and most of what I've seen I've seen there or in the few books I have. I should spend more time researching.
I go into a gallery or museum, and I realize that I don't have to formulate any opinions if I don't want to. I don't have to think this thing through and write about it at any great length. I can think about it if I want to; if not, I can just walk out. So I can enjoy painting really a lot more than I could when I had that sort of pressure.
I never really took a proper art class in college. I just started reading art magazines and going to galleries.
Where a love of natural beauty has been cultivated, all nature becomes a stupendous gallery, as much superior in form and in coloring to the choicest collections of human art, as the heavens are broader and loftier than the Louvre or the Vatican.
Above all, artists must not be only in art galleries or museums - they must be present in all possible activities. The artist must be the sponsor of thought in whatever endeavor people take on, at every level.
I used to split my time between writing, music and painting. I would work on a book and then abandon it, start a band, do an album, quit music, then do a gallery show. Eventually I decided to give writing a serious shot.
People look at film in a gallery, and if they walk out after two minutes they know they haven't seen the whole work. But then people look at a painting for two minutes and think they've seen it. Certain paintings are made to be consumed fast. But some require a slowed-down time. You have to go back to them.
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