A peculiar virtue in wildlife ethics is that the hunter ordinarily has no gallery to applaud or disapprove of his conduct
The arts inform as well as stimulate; they challenge as well as satisfy. Their location is not limited to galleries, concert halls and theatres. Their home can be found wherever humans chose to have attentive and vita intercourse with life itself.
He went out with a variety of women, slept with some of them, hated the whole meaningless process. Drinks, dinners, plays and concerts and gallery openings ... He grew to despise the rigid formality of dating, missed the easy familiarity of simply being with someone, sharing friendly silences and unforced laughter.
Give him a crowd, a gallery worthy of his best effort, and the old warrior will put on his show... He isn't what he use to be. But pack the stands, turn up the lights, and who is it brings down the house with his act? The Babe!
Better guide the young than reclaim them when old For the voice of true wisdom is calling "To rescue the fallen is good, but tis best To prevent other people from falling" Better close up the source of temptation and crime Than deliver from dungeon or gallery Better put a strong fence round the top of the cliff Than an ambulance down in the valley.
Smart art galleries know it's not the words on paper but the emotion in the piece that makes clients pull out the credit card or check book. The gallery's number one concern is will this stuff sell? What your bio, artist's statement or resume articulates will be of no help if you don't make art that connects with buyers.
When you know your work sells, then seeking a gallery or outdoor show is fine. Then, if an event or art gallery kicks sand in your face don't give up, keep moving forward. Use your brain and eliminate a lot of your personal agony. There are times when you should not take NO for an answer. But there are others when you should never put yourself in the place to be rejected to begin with. Seek the wisdom to know the difference and then go for it. Persevere in the face of disappointment.
Is it better to strive for success as a self-representing artist or try to get your feet wet in the gallery world? That is such a common question these days among artists. I truly believe that most artists will come to a cross road where they will have to decide on which route to take as it's extremely hard to be successful in both worlds.
I had given up ( around 1950, fh) any ambition of making a career as an artist…..I had lost all interest in the art shown in galleries and museums, and I no longer aspired to fit in that world. I loved the paintings done by children, and my only desire was to do the same for my own pleasure.
The sky is the ultimate art gallery just above us.
Painting, by its nature, cannot provide an object of simultaneous collective reception... as film is able to do today... And while efforts have been made to present paintings to the masses in galleries and salons, this mode of reception gives the masses no means of organizing and regulating their response. Thus, the same public which reacts progressively to a slapstick comedy inevitably displays a backward attitude toward Surrealism.
Appropriation is the idea that ate the art world. Go to any Chelsea gallery or international biennial and you'll find it. It's there in paintings of photographs, photographs of advertising, sculpture with ready-made objects, videos using already-existing film.
When I go to an art gallery and stand in front of a painting, I don't want someone telling me what I should be seeing or thinking; I want to feel whatever I feel, see whatever I see, and figure out what I figure out.
When I was 14 and living in London, I'd go around Hampton Court Palace with its marvelous atmosphere, through the gateway where Ann Boleyn walked, the haunted gallery down which Katherine Howard ran. It all set me going. It all started from there.
In 1967 there was no place for photography in a contemporary art gallery. It was almost impossible to get an art dealer to look at, let alone exhibit, anything photographic.
And to lose the chance to see frigatebirds soaring in circles above the storm, or a file of pelicans winging their way homeward across the crimson afterglow of the sunset, or a myriad terns flashing in the bright light of midday as they hover in a shifting maze above the beach -- why, the loss is like the loss of a gallery of the masterpieces of the artists of old time.
If the artist does not fling himself, without reflecting, into his work, as Curtis flung himself into the yawning gulf, as the soldier flings himself into the enemy's trenches, and if, once in this crater, he does not work like a miner on whom the walls of his gallery have fallen in; if he contemplates difficulties instead of overcoming them one by one ... he is simply looking on at the suicide of his own talent.
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