Gather knowledge... Visit galleries, museums, art and craft fairs... Read books and magazines. Take workshops. Use your senses. Experience stimulates your memory and imagination.
I always wanted to be an artist, I just didn't know that you could be, or how you could be. I went to an art high school but they never even took me to a gallery.
I'm actually looking for a gallery, but the thing is some galleries just want to show the video work and some are just interested in the 2-D work. It has to be a gallery where I can do the 2-D collages, the video, and live performance, where it's not this weird conflict, where it can all move forward.
I love wandering. It's liberating to throw away the map and explore uncharted galleries. You'll nearly always stumble into something immensely interesting that way.
I think about my art works as paintings, because they refer to the history of painting. I also have to think about them as sculptures, because every part of the process is part of the project. They're sculptures because they play on the idea of what should be hanging in a gallery. In that sense they're also kind of ready-mades.
The current climate doesn't represent a threat to the production of art but to the market. I think it's time for artists to get over auction houses, galleries, and high-production-value exhibitions and start using our voices again.
I should also mention that the Neue Galerie is piping music into the galleries where "Klee and America" is hanging, a practice for which vulgar is not even close to the word. Yes, I like Schumann's Carnaval, but I'm damned if I know why anybody thinks the paintings of Paul Klee profit from being viewed with Carnaval playing in the background.
I don't know what it was like in the '80s. I don't really even know what it was like in the '90s, because I was broke and wasn't selling any art. I was in a few group shows, but I didn't have a gallery until 2006.
Photos should focus on your waist up, unless you have amazing legs. Then it's okay to include one or two full-body shots in your gallery. The majority of your photos should be closer up, highlighting your face. Don't stage a smile. Instead, try to laugh just before the shot is taken. Flirty smiles that don't look cheesy also work. Make eye contact with the camera. Aim to take most of your photos outdoors.
Use between three and five photos in your gallery. Galleries with more photos are more competitive, but after five they seem to pass a point of saturation and diminishing return.
The human mind is not, as philosophers would have you think, a debating hall, but a picture gallery.
I came late to galleries. A lot of people my age started their careers younger, so I was spared seeing that side for a long time.
The galleries are full of critics. They play no ball, they fight no fights. They make no mistakes because they attempt nothing. Down in the arena are the doers. They make mistakes because they try many things. The man who makes no mistakes lacks boldness and the spirit of adventure. He is the one who never tries anything. His is the brake on the wheel of progress. And yet it cannot be truly said he makes no mistakes, because his biggest mistake is the very fact that he tries nothing, does nothing, except criticize those who do things.
When Ballesteros triumphed at the British Open in 1979, for his first major win, he hit so few fairways off the tee that he was often mistaken for a gallery marshall.
Sometimes commercial galleries ask for particular work to sell, but I try not to be bossed around by them. I didn't become an artist to get bossed around.
When I see my work in a gallery I often wonder how I got to this point. Sometimes the process of making the work feels like a blur, and I look at the work and wonder how I actually made it.
I've always felt the portrait is an occasion for marks to happen. I've never viewed the portrait as about the sitter. Even when I go to the National Portrait Gallery, I'm not thinking about the sitter; I'm thinking about how the artist chose that color or that highlight. It becomes about the time, place, and context.
Wimbledon attracted Bill Clinton to the gallery at Centre Court Tuesday at the All England Club. NBC cameras showed his head turning back and forth with each volley. Even at a tennis match, it looks like he's denying everything.
The world shows up for us, but it doesn't show up for free. We must show up, too, and bring along what knowledge and skills we've cultivated. As with a painting in a gallery, the world has no meaning-no presence to be experienced-apart from our ability to engagement with it.
The term biodynamics - push it aside, it is verbosity. It doesn't matter a bit. One has to use words to make headings, that's all it is. It's rather like the stupidity in a picture gallery today where you have to write under it what the scene or person is. It is equally as nonsensical as that. Therefore to talk about biodynamic gardening, biodynamic horticulture, biodynamic agriculture and the French intensive system is merely a horrible heading of terminology.
When I stepped back from the gallery I was in a phase where I thought I wasn't going to be making work for a gallery context for a while. People were like, "You should never leave a gallery if you didn't have somewhere else to go," but I wasn't trying to disrespect the gallerists in that way.
I did large drawings of couples having sex! Men and woman enjoying intercourse and oral sex in a Madison Avenue Gallery? That was the first time I broke a barrier that made me think, some idiot is going to blow my brains out for sure.
The galleries are simply corporations in the art world - "Here's a million dollars for this latest piece of crap" - but I'm not about to go along with the gallery system.
When I found out after that first successful exhibition that the gallery wanted me to do another show like the first one, I come out two years later with four 6-foot drawings of classical nudes masturbating. The gallery director flipped the freak out!
From day one, my idea was always to use the gallery as this animated place to discover culture in a much bigger way.
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