The city's the best gallery I could imagine. I would never have to make a book and then present it to a gallery and let them decide if my work was nice enough to show it to people. I would control it directly with the public in the streets.
Museums collect what's important in their respective countries. In Berlin's National Gallery, however, this isn't the case. They're interested neither in me nor the other usual suspects. It's simply a German reality.
Im saving up to buy art. Nothing famous, but every time Im in a new city I wander into galleries and dream about buying great pieces one day.
History, it is easily perceived, is a picture-gallery containing a host of copies and very few originals.
If I had to spend equal time doing paintings, and equal time going to galleries and doing art business, and equal time making music, and equal time going to record companies, or to the publicist or to the lawyer, forget it. It would take four times as long to do all that stuff. Unless I had a patron. That's why Leonardo da Vinci was successful. He had the Medicis, right?
It doesn't matter that your painting is small. Kopecks are also small, but when a lot are put together they make a ruble. Each painting displayed in a gallery and each good book that makes it into a library, no matter how small they may be, serve a great cause: accretion of the national wealth.
Life is politics, basically, but you don't just go to a gallery and put the words 'art' and 'politics' on the wall.
Men whose only concern is other people's opinion of them are like actors who put on a poor performance to win the applause of people of poor taste; some of them would be capable of good acting in front of a good audience. A decent man plays his part to the best of his ability, regardless of the taste of the 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.
If I have a piece that's solely based on the web and it's going to also exist in a gallery, it needs to exist in a gallery where it doesn't feel redundant.
I remember when I first started putting things on the web and people were writing about it. I totally didn't keep up with what was going on because I wanted to present stuff in museums and galleries and have some presence on the web. I feel fortunate to have posted stuff in the beginning.
Exposure to the reproductions [of Corbis-owned fine art photographs] is likely to increase rather than diminish reverence for the real art and encourage more people to get out to museums and galleries.
Some pictures are in the gallery because they belong to humanity and others because they belong to the United States.
Fine-art photography is a very small world associated with galleries, museums, and university art programs. It's not like rock music; the products of this world have never been widely seen because the artists are often exploring things that are not already coded in general consciousness. It's not that photographers don't want to be famous, it's just that very few of the views from the edges of culture make the mainstream. Ansel Adams was an exception.
... what is important is not so much what people see in the gallery or the museum, but what people see after looking at these things, how they confront reality again. Really great art regenerates the perception of reality; the reality becomes richer, better or not, just different.
The last thing I would want is for Monbiot, Mann, Flannery, Jones, Hansen and the rest of the Climate rogues' gallery to be granted the mercy of quick release. Publicly humiliated? Yes please. Having all their crappy books remaindered? Definitely. Dragged away from their taxpayer funded troughs and their cushy sinecures, to be replaced by people who actually know what they're talking about? For sure. But hanging? Hell no. Hanging is far too good for such ineffable toerags.
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.
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.
I've always liked the fact that galleries are free to visit in New York.
My videos rarely run longer than 20 minutes. They're made for private viewing in your home or specifically either that or for a gallery situation where you sit and look.
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