I'm not fashionable at all, and the fact that I manage to sell pictures without being fashionable is thanks to my gallery.
It is important to know: 1) You are OK just the way you are. You need a strong stomach, a tough hide, and to be able to take rejection well. 2) Do your homework. Check out galleries. Don't just walk in with your work. Be as professional as you can. 3)... there is a gallery for everybody.
Men whose only concern is other people's opinion of them are like actors who put on a poor performance to win the applause of people of poor taste; some of them would be capable of good acting in front of a good audience. A decent man plays his part to the best of his ability, regardless of the taste of the gallery.
My real father was a portrait painter. I went to a lot of auctions as a kid and galleries.
If you just turn to your paper or television each day, there are thousands of stories that are much more shocking than the gallery artworks.
Now there is a big turnover in the galleries. The top galleries are getting better all the time. A lot of galleries just struggle along, then a new one comes along. There are certainly a great number of galleries. I think this argues well for the art but there are, of course, a lot of "phonies" in all the arts.
In China, we don't have any contemporary art museums. Until a few years ago, we didn't even have a gallery.
History, it is easily perceived, is a picture-gallery containing a host of copies and very few originals.
Life is politics, basically, but you don't just go to a gallery and put the words 'art' and 'politics' on the wall.
I spent a lot of time standing on street corners [of New York City] talking to local residents. I spent time in bookstores and galleries. But most of the time, I really did not have much to do.
There was a kind of cultural life in New York that wasn't as solidified as it is now, it wasn't as money-driven. If you look at the size of the successful art galleries compared to the size of galleries now - there was no such thing as the Gagosian Gallery or Pace Gallery. But it was a time when magazines were a vital part of American life, and Esquire gave me a free pass to every world - I could get to the art world, the theater world, the movie world. It allowed you to roam through the cultural life of New York City.
If I had to spend equal time doing paintings, and equal time going to galleries and doing art business, and equal time making music, and equal time going to record companies, or to the publicist or to the lawyer, forget it. It would take four times as long to do all that stuff. Unless I had a patron. That's why Leonardo da Vinci was successful. He had the Medicis, right?
My videos rarely run longer than 20 minutes. They're made for private viewing in your home or specifically either that or for a gallery situation where you sit and look.
It doesn't matter that your painting is small. Kopecks are also small, but when a lot are put together they make a ruble. Each painting displayed in a gallery and each good book that makes it into a library, no matter how small they may be, serve a great cause: accretion of the national wealth.
One of the things I've had to struggle with is that part of what people find critically and curatorially questionable in my work is that I try to make things that don't read as art until they're in a gallery.
Im saving up to buy art. Nothing famous, but every time Im in a new city I wander into galleries and dream about buying great pieces one day.
Museums collect what's important in their respective countries. In Berlin's National Gallery, however, this isn't the case. They're interested neither in me nor the other usual suspects. It's simply a German reality.
In a way, composing on the melodic level is an expression of a melodic truth, almost like a geometric truth. If it has clarity, other people will recognize it. There's no way of isolating it in a gallery on a white wall and saying, "This is a work of art. This is a mathematical proof."
I'm criticizing the way they are perceived. I was going through a book of Marina Abramovic and Ulay's 1970s performance work the other day. These people did two, even three Documentas or Venice Biennales over the course of a decade without any fuss. They would just treat it as any of their other engagements, with the same level of dignity and commitment they'd reserve for a one-day event in a small gallery on the Austrian mountains.
Galleries are nice to me. I sign a lot of autographs.
I enjoy thinking about how paintings can change depending on where they are - how they look in a gallery or in relation to other paintings, or in different rooms. Paintings can change the way we experience and see the world.
I just moved onto Queen West, after 20 years in Cabbagetown. The whole area around Trinity-Bellwoods is one of the juiciest in Toronto - all kinds of people to watch, dogs to pat, food to eat, galleries to check out. And the walk home from CBC delivers some of the most interesting window-shopping in town.
Norwich is a fine city. None finer. If there is another city in the United Kingdom with a school of painters named after it, a matchless modern art gallery, a university with a reputation for literary excellence which can boast Booker Prize-winning alumni, one of the grandest Romanesque cathedrals in the world, and an extraordinary new state-of-the-art library then I have yet to hear of it.
To be rich is to have a ticket of admission to the masterworks and chief men of each race. It is to have the sea, by voyaging; to visit the mountains, Niagara, the Nile, the desert, Rome, Paris, Constantinople: to see galleries, libraries, arsenals, manufactories.
Art exhibitions would be less censored if they were rated, G or NC-17, like movies. People in general see galleries and museums as family-appropriate excursions. Censorship is a provided system which caters to lazy parenting, which is publicly-funded and socially accepted.
Follow AzQuotes on Facebook, Twitter and Google+. Every day we present the best quotes! Improve yourself, find your inspiration, share with friends
or simply: