Quote of the Day
I don't often go to curator or artist walk-throughs of exhibitions. For a critic, it feels like cheating. I want to see shows with my own eyes, making my own mistakes, viewing exhibitions the way most of their audience sees them.
The very paradigm of revolution, of right versus wrong, good versus bad, is a relic with no bearing on the present. Yet artists, exhibitions, and curators valorize the sixties. People who wrote about these artists 30 years ago still write about them in the same ways, often for the same magazines.
Works of art often last forever, or nearly so. But exhibitions themselves, especially gallery exhibitions, are like flowers; they bloom and then they die, then exist only as memories, or pressed in magazines and books.
Everyone goes to the same exhibitions and the same parties, stays in the same handful of hotels, eats at the same no-star restaurants, and has almost the same opinions. I adore the art world, but this is copycat behavior in a sphere that prides itself on independent thinking.
I have a publishing company of books by me and books of others. It drew people to poetry readings and photo exhibitions and painting exhibitions that I've been doing for years before that.
Most museums - with all their burdens to pay for exhibitions, administration, and security - really don't have any money really to acquire art, with few exceptions.
When I started painting 17 years ago, I never imagined that anyone would look at my work or buy my pieces. But now I do about 14 exhibitions each year.
I wish I could compete again, but my good feeling is, these competitions are better as exhibitions.
My mother was a teacher, and when she wanted to show me art and literature and science, she'd take me to museums, parks and free exhibitions.
Look at lots of exhibitions and books, and don't get hung up on cameras and technical things. Photography is about images.
When I committed to playing a little tennis in some exhibitions, it was the best thing for me. It got me in shape. It got me out of the house. It got me doing something I love to do.
Then I started to do furniture and interiors for a friend and just to get stuff in a magazine, and then slowly started to build up and started to doing exhibitions.
Many of the museum directors who make an impact personally curate exhibitions.
Art collectors are pretty insignificant in the scheme of things. What matters and survives is the art. I buy art that I like. I buy it to show it off in exhibitions. Then, if I feel like it, I sell it and buy more art.
Many people will say, well, clothes should be worn; but I think people can look at them in public, like seeing a film. I think museum exhibitions are very important.
You cannot always make such big exhibitions, because they consume too much time and energy.
Argumentative exhibitions bring issues to life in a way that very much irritates traditional curators who want to see their pictures valued for themselves.
The entire exhibitions industry in the United States of America has filed for bankruptcy.
I'm constantly making exhibitions in my head.
Being a part of exhibitions is not a burden; it's another way for an independent label such as mine to reach a larger audience by exposing them to my whole body of work.
My parents have always given me whatever I wanted. Took me to the ballet, the opera, museum exhibitions. I was always surrounded by art. It's their fault I've become an actress.
I always thought it would be a great thing to do an art carwash. So you can actually go and get your car washed, but while you're sitting around waiting you can walk in that hallway where you look at the cars going through the window, and that could be changing exhibitions.
These small shows were decidedly a success. The exhibitions were not too large to be seen easily. It was not an effort, as larger collections of pictures usually are.
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