I have a set of images that go around the world in an art gallery installation. Each of them have different audiences, and they kind of each elucidate the subject in a slightly different way, and they ping off of each other.
I actually like a film in a gallery, because you don't have to show up at a certain time to see something, you can just walk in whenever. I like that freedom to be able to see something anytime. I personally don't mind watching something knowing that it's not the beginning and then just letting it run its cycle.
So much of my work involved the Vietnam War that it would have been obscene to show it in a gallery. But now, it’s different; it’s important to remember and to enable the young to discover what to some of us is still so present.
To a person uninstructed in natural history, his country or sea-side stroll is a walk through a gallery filled with wonderful works of art, nine-tenths of which have their faces turned to the wall. Teach him something of natural history, and you place in his hands a catalogue of those which are worth turning around. Surely our innocent pleasures are not so abundant in this life, that we can afford to despise this or any other source of them.
We are all naturally seekers of wonders. We travel far to see the majesty of old ruins, the venerable forms of the hoary mountains, great waterfalls, and galleries of art. And yet the world's wonder is all around us; the wonder of setting suns, and evening stars, of the magic spring-time, the blossoming of the trees, the strange transformations of the moth...
My mother fed my love of demons, science fiction, and paranormal. She was a devout horror movie fan who kept me up until the wee hours to watch Outer Limits, Night Gallery, Twilight Zone, and Star Trek. We lived to watch those reruns.
I realized that I could have been in galleries much sooner. I just needed to get past the fear of rejection. I still feel nervous when I approach a new gallery, although it has become more like a job now. The first step on this long road was getting past that initial fear.
I do quite like sightseeing. I like churches, museums, galleries and all that stuff. I love the smell of a church in Italy or the smell of an old greasy spoon somewhere. I like markets and little funny shops in the backstreets of Florence.
If I were a place, the area of South Bank, in London. Between the Hayward Gallery, National Theatre and all other activities, I'm never bored. I would also say New York for the breathtaking skyline formed by the buildings and the fast pace of the city, whatever the time of day.
I love Tate Modern; there's such great style and shopping here. I love the galleries and the pubs out on the street, just having your pint as the sun is setting.
If we could know as intimately as we know our more immediate parents the long line of ancestors through whom the family spirit has passed on its way to us, we should probably become fatalists in face of the apparently overwhelming evidence that there is nothing in us that has not come to us from, or at least through, the Family. Family portrait galleries are a striking confirmation of the persistence of characteristics which ultimately govern the fortunes of successive generations.
[On John Tunnard:] One day a marvelous man in a highly elaborate tweed coat walked into the gallery. He looked a little like Groucho Marx. He was as animated as a jazz-band leader, which he turned out to be. He showed us his gouaches, which were as musical as Kandinsky's, as delicate as Klee's, and as gay as Miró's.
Anyone who thinks that wind factories are environmentally friendly should Google "Cefn Croes Photo Gallery", to see 100 chilling pictures showing how many miles of unspoiled Welsh countryside were disfigured to create the largest industrial site in Britain: all to "save" annually less than a quarter of the CO₂ emissions from a single jumbo jet.
Some government expenditure actually makes a profit. Our theatre leads the world. Loads of tourists must be attracted by the fact that you could spend a week in London doing nothing but visit superb museums and galleries, free.
I was the first woman to paint cleanly, and that was the basis of my success. From a hundred pictures, mine will always stand out. And so the galleries began to hang my work in their best rooms, always in the middle, because my painting was attractive. It was precise. It was 'finished'.
And that the arming of so many black youths, uh, and loading up our community with drugs, and then just having an open shooting gallery, is the work of people who obviously don't have our best interests [at heart].
Alafair Burke's first standalone is a must read! You'll lose yourself in this riveting story of Alice Humphrey, a woman whose nightmare begins when she goes to work at her new gallery job, only to find everything gone—and a murdered man on the floor. You can't guess the plot twists that follow, as Alice's whole word turns upside down and she has to question everyone and everything she thought was real. And the ending is a shocker you'll never see coming.
I've always thought that there shouldn't be any limit to the things that are well designed. And I think that people who consider that art should only be kept for art galleries and doesn't have a role in public life, I think that's too narrow.
Art shouldn't be something that you go quietly into an art gallery and dip your forelock and say 'I have to be very quiet, I'm in here amongst the art.' It's here, art's everywhere. It's how you use your eyes. It's about the enjoyment of visual things. And it's certainly not for any one group of people.
I remember going into galleries and seeing this thing called conceptual art, and I understand people’s marginalization from what the art subculture is because if you haven’t crashed the codes, and if you don’t know what it is, you feel it’s a conspiracy against your unintelligence. You feel it’s fraud.
In New York, Catholic groups have forced an art gallery to shut down an exhibition of a six-foot image of Jesus in chocolate. So, the Archbishop of New York was very upset. He said, 'It is appalling to make Jesus out of food! Now, if you'll excuse me, I have to go bake some communion wafers.'
There seems to be art and creativity everywhere, whether it was in the galleries of Jaffa or along the streets of Jerusalem ... the creativity blows my mind because you can see that people want to live their lives to the fullest.
When speech is given to a soul holy and true, time, and its dome of ages, becomes as a mighty whispering-gallery, round which the imprisoned utterance runs, and reverberates forever.
While I was still going to embrace social media, I knew I had to do things that nobody else was doing. I decided I had to meet as many people as I could - face to face. While most artists would email galleries, I would show up in the lobby. Instead of liking an art show or exhibition, I would go there and meet everyone. And while most would send a magazine a press kit, I go and meet the editor. This notion of face to face contact became my mantra.
The art business is a rarified business and appeals to an audience capable of spending money on a luxury. Too often the atmosphere in a gallery borders on snobbishness.
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