Gallery Quotes

Robert Gober, for example. He doesn't seem like somebody who is just going to show in a gallery that asks him to show. He's just making his work, and when he's ready, he's going to show it.

The human mind is not, as philosophers would have you think, a debating hall, but a picture gallery.

I always wanted to be an artist, I just didn't know that you could be, or how you could be. I went to an art high school but they never even took me to a gallery.

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.

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.

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.

And you can't help but worry for them, love them, want for them - those who go on down the close, foetid galleries of time and space without you.

I go into a gallery or museum, and I realize that I don't have to formulate any opinions if I don't want to. I don't have to think this thing through and write about it at any great length. I can think about it if I want to; if not, I can just walk out. So I can enjoy painting really a lot more than I could when I had that sort of pressure.

Galleries in the West have probably been looking for exoticism. That's the reason my paintings initially sold well, I think. And then once they started selling, people said my works were very detailed. They may have represented something Japanese to them.

I know street art can feel increasingly like the marketing wing of an art career, so I wanted to make some art without the price tag attached. There's no gallery show or book or film. It's pointless. Which hopefully means something.

I love the idea of bringing my work to the general public, not just people who go to gallery openings.

I believe that when you go into a gallery or a museum, the most powerful pieces are the ones that don't have the words in the corner that distract you from the larger piece.

My whole family is very art-based. My sister runs a gallery, my other sister works for PACE in New York, my other sister is a sculptor. I'd say the ending one is me because that's the artist and the artist feels a lot.

The sun never sets on my gallery.

Milan, for me, is a city of discovery. You can find some amazing gardens behind some great houses; I also love finding beautiful galleries and incredible shops, but you have to explore. And the food is amazing.

Galleries are becoming overwhelmed with psychedelic music/art. I like it; it's a good direction, a new blurring of the lines between what you do.

In one gallery they actually had a notice which said No Sketching. How obnoxious! I said, How do you think these things got on the walls if there was no sketching?

At 18 I began painting steadily fulltime and at age 20 had my first New York show at the Macbeth Gallery.

I love going to galleries, particularly the National Portrait Gallery.

An attempt to achieve the good by force is like an attempt to provide a man with a picture gallery at the price of cutting out his eyes.

As far as my opinion on galleries, I think they are a great thing. I see them as another outlet. I'm sure by now you've figured out that I do my work for everybody to see. That's the whole point.

Some people`s photography is an art. Mine is not. If they happen to be exhibited in a gallery or a museum, that`s fine. But that`s not why I do them. I`m a gun for hire.

How much would you want to stand at the wrong end of a shooting gallery?

I just got to hear every note. After I left Birdland, I started working at the Jazz Gallery. In the end, I still couldn't play, but I knew how to listen. I was probably the world's best listener.

A work of art when placed in a gallery loses its charge, and becomes a portable object or surface disengaged from the outside world.

I love to be in front of big galleries

I use the gallery as if it were a doctor. I come for ideas and help - to look at situations within painting, rather than paintings.

The nice thing about the gallery shows is that without having to pay any money you can just go and see it.

My dream since I was a kid was to show in a gallery.

Every so often you might have an outburst in the gallery. That's one of the most exciting things that happen because then you can say, 'Unless there's order we will call the Sergeant at Arms.' And that sounds really scary.

There are three estates in Parliament but in the Reporters' Gallery yonder there sits a Fourth Estate more important far than they all. It is not a figure of speech or witty saying, it is a literal fact, very momentous to us in these times.

To persons uninstructed in natural history, their country or seaside stroll is a walk through a gallery filled with wonderful works of art, nine-tenths of which have their faces turned to the wall.

Which painting in the National Gallery would I save if there was a fire? The one nearest the door of course.

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.

History, it is easily perceived, is a picture-gallery containing a host of copies and very few originals.

In China, we don't have any contemporary art museums. Until a few years ago, we didn't even have a gallery.

The media, the galleries, the collectors - it's all very chaotic actually. The artworld doesn't have this defined corporate structure that people imagine.

The city as a center where, any day in any year, there may be a fresh encounter with a new talent, a keen mind or a gifted specialist-this is essential to the life of a country. To play this role in our lives a city must have a soul-a university, a great art or music school, a cathedral or a great mosque or temple, a great laboratory or scientific center, as well as the libraries and museums and galleries that bring past and present together. A city must be a place where groups of women and men are seeking and developing the highest things they know.

A summer rain had left the night clean and sparkling with drops of water. I leaned against the end pillar of the gallery, my head touching the soft tendrils of a jasmine which grew there in a constant battle with a wisteria, and I thought of what lay before me throughout the world and throughout time, and resolved to go about it delicately and reverently, learning that from each thing which would take me best to another.

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'.

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.

Galleries began growing in both number and size in the late seventies, when artists who worked in lofts wanted to exhibit their work in spaces similar to the ones the art was made in.

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.

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.

I love the gallery, the arena of representation. It's a commercial world, and morality is based generally around economics, and that's taking place in the art gallery.

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.

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.

Being a good Hans Haacke student, part of his influence on me is that there's no difference between a gallery show and a film - or even an ad and a T-shirt-in terms of cultural legitimacy. They're just different contexts in which to have some sort of communication.

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.

he cut through the 21st Century Gallery, past the big plastic statues of Pluto and Mickey, animal headed gods of lost America