Quote of the Day
A work of art when placed in a gallery loses its charge, and becomes a portable object or surface disengaged from the outside world.
History is a gallery of pictures in which there are few originals and many copies.
Alexis de Tocqueville
I always believed that my work should be unfinished in the sense that I encourage people to add their creativity to it, either conceptually or physically. Back in the 1960s, I was calling for 'Unfinished Music,' number one, and number two, with my artwork - I was taking unfinished work into the gallery. And that's how I was looking at it.
Because of my job, I get a lot of opportunity to grab a few days here and there in many cool cities for press commitments, magazine shoots and premieres - Barcelona, Madrid, Rome, Paris, Stockholm, New York, Berlin. I always try to get to a gallery or museum if there's time.
The Church is not a gallery for the exhibition of eminent Christians, but a school for the education of imperfect ones.
Henry Ward Beecher
You know how you feel somebody looking at you, and you turn, and somebody actually is? It's the same at an art gallery. You're looking at one portrait, turn around, and there is a work of art directly behind you. Because it's all energy. Every single thing has energy.
Courtesy is a silver lining around the dark clouds of civilization; it is the best part of refinement and in many ways, an art of heroic beauty in the vast gallery of man's cruelty and baseness.
Bryant H. McGill
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.
The first piece of art that I ever bought-when I could afford it-was a Warhol sketch from the period when he was just getting out of doing commercial work and more into art. It's a sketch of a young guy's face. I guess the gallery that I bought it from thought I would like it because the young guy kind of looked like James Dean.
I'm noticing a new approach to art making in recent museum and gallery shows. It flickered into focus at the New Museum's 'Younger Than Jesus' last year and ran through the Whitney Biennial, and I'm seeing it blossom and bear fruit at 'Greater New York,' MoMA P.S. 1's twice-a-decade extravaganza of emerging local talent.
There is more to representing art than selling art. The life of the gallery is dependent on the renewal and refreshment of its artists and dealers. When that stops happening, it's the end.
Which painting in the National Gallery would I save if there was a fire? The one nearest the door of course.
George Bernard Shaw
They are at the end of the gallery; retired to their tea and scandal, according to their ancient custom.
The nice thing about the gallery shows is that without having to pay any money you can just go and see it.
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.
Bracketing has turned all my experiences, remembered and present, into a gallery of miracles where I wander around dazzled by the beauty of events I cannot explain.
If you're a baker, making bread, you're a baker. If you make the best bread in the world, you're not an artist, but if you bake the bread in the gallery, you're an artist. So the context makes the difference.
I wanted to be a star, not a gallery mascot.
I've noticed a lot of younger artists have less fear of doing different sorts of things, whether it's various types of music, or gallery artists moving between video and sculpture and drawing.
Urs Fischer specializes in making jaws drop. Cutting giant holes in gallery walls, digging a crater in Gavin Brown's gallery floor in 2007, creating amazing hyperrealist wallpaper for a group show at Tony Shafrazi: It all percolates with uncanny destructiveness, operatic uncontrollability, and barbaric sculptural power.
I very rarely saw Tom Kite around. I've talked to Tom about it. I don't think Michael Jordan needed to be on the captain's cart with Kite; he needed to be walking in the gallery, supporting them from outside the ropes.
I learned early in my career, where you get so wrapped up and so excited, that all of a sudden you don't think. So I worked very hard to keep myself suppressed. And that's one of the reasons I wasn't gregarious with the gallery.
Even when you're out with someone, you need to get out of your head. And you can try exercises by putting yourself in situations where you may not feel completely comfortable, like going to a gallery opening on your own.
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.
There is something uniquely depressing about the fact that the National Portrait Gallery's version of the Barack Obama 'Hope' poster previously belonged to a pair of lobbyists. Depressing because Mr. Obama's Washington was not supposed to be the lobbyists' Washington, the place we learned to despise during the last administration.
Martin Luther King, Jr.
John F. Kennedy
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