Somebody will be exhibiting a bunch of bananas in a gallery, and they'll get me on to talk dirty about it.
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.
Certainly, a gallery has to sell your work, so they'll be very frightened of you doing anything too different, and that can be difficult, but they can also recognize the need to change. Usually, if you just go and do it, and other people like it, it will still get recognized.
I realise the power of art that does not hang on the walls of galleries.
Utilitarianism had found [in Samuel Smiles' Self-Help] its portrait gallery of heroes, inscribed with a vigorous exhortation to all men to strive in their image; this philistine romanticism established the bourgeois hero-prototype the penniless office-boy who works his way to economic fortune and this wins his way into the mercantile plutocracy.
Consciousness is a singular of which the plural is unknown. There is only one thing and that which seems to be a plurality is merely a series of different aspects of this one thing, produced by a deception, the Indian maya, as in a gallery of mirrors.
You can talk about strategy all you want, but what really matters is resilience. On the last nine holes of the Masters or the Open, there's going to come at least one point when you want to throw yourself in the nearest trash can and disappear. You know you can't hide. It's like you're walking down the fairway naked. The gallery knows what you've done, every other player knows and worst of all, you know. That's when you find out if you're a real competitor.
I never spend more than one hour in a gallery. That is as long as one's power of appreciation persists.
It's much harder to work for yourself, by yourself, than to create work for a gallery, because there are no limits and you can do anything you want. It's always easier when you have a parameter, when you have a limit. You can work within the limit and push it and walk the line, but when you're given absolutely no limits, it's harder. You must really think. It's more challenging.
I worked in an art gallery for a few years, doing administrative assistance stuff, and it exposed me to what the whole world of art dealers and the art market was about.
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.
[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.
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.
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 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 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.
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.
[Photography was necessary to] make my place in the art-world: in order to do this, I had to make a picture, since a picture was what a gallery or museum was meant to hold (all the while, of course, I was claiming that I was denying the standard, rejecting it...)
After finishing art school I was applying to stores like Home Depot and Walmart. You know, places where you have to take a urine test before you get your minimum wage. Even those places wouldn't hire me. So I was lucky when I got included in a group show at the Richard Heller gallery that kind of started my art career.
A [spatial, temporal] work had only to be exhibited in a gallery and then written about and reproduced as a photograph in an art magazine. Then this record of the no longer extant installation, along with accretions of information after the fact, became the basis for its fame, and to a large extent its economic value.
I feel like Havana has always been such an amazing, cosmopolitan city that it makes sense that a lot of galleries will want to be present.
There aren't that many galleries in Havana. There are a few state galleries and an ever-increasing but still limited number of independent galleries; there's no comparison with the number in New York.
The biggest weakness with my game is that I have fun with the galleries. I just love a gallery.
The client isn't quite satisfied and then the prostitute is always unsatisfied but is doing it just to make ends meet. And if you're doing fine art, if you're doing it for a gallery or a museum, it's so sterilized. It's such an antiseptic environment.
Sometime when I was in my mid-twenties I noticed, "Hey, even I don't go into too many art galleries. Why? Because I don't like the vibe in them. If even I'm not going into galleries, then who goes into art galleries in the first place?" It's just a certain, very narrow percentage of the population.
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