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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.
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.
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.
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.
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.
I wish I could compete again, but my good feeling is, these competitions are better as exhibitions.
I believe in originality, primarily. However, it's important to know what there has been before to aim in that direction. Art history informs us. It informs our mind. I like to look at books, exhibitions, paintings, as a computer, subconsciously taking on information.
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 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.
Argumentative exhibitions bring issues to life in a way that very much irritates traditional curators who want to see their pictures valued for themselves.
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.
I think there's a sort of agony with all intelligent and very creative designers that it's only fashion, that in the end it's only the decorative arts. I had a feeling towards the end that Saint Laurent and Berge were very keen to attain that immortality that a lot of designers long for. You know, those endless exhibitions.
When I say art influences me, which it does, it's not at all in a literal form. You go and see exhibitions or collections or meet an artist. It's all a compilation. Every moment, at all times, all this information. Then all this information disappears, and it shows up later in the process.
You cannot always make such big exhibitions, because they consume too much time and energy.
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.
Many of the museum directors who make an impact personally curate exhibitions.
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.
Look at lots of exhibitions and books, and don't get hung up on cameras and technical things. Photography is about images.
In my 20s, when I was a photojournalist in Beijing. I joined an underground art group and put on clandestine exhibitions of my paintings.
I would probably have been very content as a scholar to have carried on organising exhibitions and writing books and teaching.
Thomas P. Campbell
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.
I'm constantly making exhibitions in my head.
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.
The entire exhibitions industry in the United States of America has filed for bankruptcy.
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.
Martin Luther King, Jr.
Image of the Moment
Three grand essentials to happiness in this life are something to do, something to love, and something to hope for.
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