I see artists bored by light-without-heat, irked at gigantic galleries' pushing out art-as-product, leaving behind the over determined for the undetermined, guided by interior voices and bringing us out of a long tunnel to new blueness.
Rumors sound of galleries asking artists for upsized art and more of it. I've heard of photographers asked to print larger to increase the wall power and salability of their work. Everything winds up set to maximum in order to feed the beast.
In the times in which we live it is far too restricting to say that art can only be found in art galleries and not touch people's everyday lives. I want to use any means that are necessary to communicate with people what I feel about things. There are no rules. And if there are rules, then you may as well break them.
Galleries needn't be exactly like White Columns purely because times are bad again. But the idea of this special space could - should - help shape what comes next.
How would you judge an artist who mutilated animals in a gallery because it was visually arresting? How riveting would the sound of a tortured animal need to be to make you want to hear it that badly? Try to imagine any end other than taste for which it would be justifiable to do what we do to farmed animals.
I don't plan out my visits rigorously, but I do have a list of about 125 New York galleries, alternative spaces, museums, and so forth that I visit regularly. That's the closest thing I have to a strategy: I go to a lot of places, many that artists don't visit.
The last time money left the art world, intrepid types maxed out their credit cards and opened galleries, and a few of them have become the best in the world.
I see 30 to 40 gallery shows a week, and no matter what kind of mood I'm in, no matter how bad the art is, I almost always feel better afterward. I can learn as much from bad art as from good.
I love going to art galleries. The Tate Modern is one of my favourite things to do. But I don't invest in the history of it and I don't read up on it. I am a guy who would buy a print rather than buy an original.
When it comes to locations, I'm one of those crazy authors who has to see it, touch it, taste it, before I trust myself to recreate it for my readers. Having said that, visiting a locked-down pediatric psych ward was the most intimidating research I've ever done - and I've visited maximum security prisons, shooting galleries, bone collections, etc.
You know how you feel somebody looking at you, and you turn, and somebody actually is? It's the same at an art gallery. You're looking at one portrait, turn around, and there is a work of art directly behind you. Because it's all energy. Every single thing has energy.
The music throbbed in a voice of singular and delicate power; the air was resonant with melody, love and pain. The meanest Italian in the gallery far up beneath the ceiling, the most exalted of the land in the boxes and the stalls, leaned indulgently forward, to be swept by this sweet storm of song.
Transforms old print To zigzag manuscript, and cheats the eyes Of gallery critics by a thousand arts.
Fond man! though all the heroes of your line Bedeck your halls, and round your galleries shine In proud display; yet take this truth from me-- Virtue alone is true nobility!
For those 10 months back in Afghanistan after university, I felt I had no rights. It felt like I didn't exist. It was like I was their doll, and I was lost, somehow. My sister's husband brought me to an art gallery. It had a big effect on me.
London' is a gallery of sensation of impressions. It is a history of London in a thematic rather than a chronological sense with chapters of the history of smells, the history of silence, and the history of light. I have described the book as a labyrinth, and in that sense in complements my description of London itself.
Film is something that reaches so many people. How many people are going to go into a gallery? And understand what they're seeing? I think about the guy walking down the street, the guy who drove me here - this guy has the opportunity to go the cinema.
I've been collecting photos for a long time, I mean since I started making money. But what you have had to go through to find a good photo is like a needle in the haystack sometimes. You'll drive from one gallery to the next gallery to the next gallery. It's not an easy process. It's a very ancient model that just hasn't caught up with the times.
I like what I see now in China, but I think the Japanese are a step ahead into craziness and weirdness. I go to galleries there that are the size of a New York elevator, and every time I'm surprised by the amazing things I find. I really hope I'll be able to promote some of these artists, to show their work in the West.
The universe is composed of an indefinite and perhaps infinite number of hexagonal galleries.
I've always liked the fact that galleries are free to visit in New York.
Bracketing has turned all my experiences, remembered and present, into a gallery of miracles where I wander around dazzled by the beauty of events I cannot explain.
Sometimes, you just have to clear your head and get out to see other things. It is very important to be nourished. I love to go to museums and galleries, I like to see theatre, film, dance - anything creative. It doesn't promise you inspiration, but it nourishes your creative soul, and that's good.
I've noticed a lot of younger artists have less fear of doing different sorts of things, whether it's various types of music, or gallery artists moving between video and sculpture and drawing.
There are so many great galleries and museums in London, but they can be very crowded during the day.
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