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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.
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.
The gallery in which the reporters sit has become a fourth estate of the realm.
Thomas Babington Macaulay
I love going to galleries, particularly the National Portrait Gallery.
Honestly, I don't believe in menswear. I focus on what pieces are most timeless, transcendent, match my lifestyle, remain remarkable, and command intriguing attention across the room at an art gallery.
I once saw an elaborate landscape in a gallery, drawn in pencil, that took my breath away. Then I realized the artist probably didn't have enough confidence to use a pen.
Sunday is the one day I keep reminding myself that I should lay around and take it easy, but because I am O.C.D. and an extreme multitasker, I find it hard to get lazy. I love Sundays for painting because it's quieter; the gallery is closed, and there are no interruptions.
The Upper Bohemia people wore tuxedos in an art gallery, and Lower Bohemia was all of us.
As humans we look at things and think about what we've looked at. We treasure it in a kind of private art gallery.
The distinction between a gallery and a museum is enormous. The gallery is about looking at a thing of beauty; the purpose of the activity is an aesthetic response. The museum is actually about the object that lets you get into somebody else's life.
In a gallery, there's an expectation of high prices and a somewhat elitist atmosphere.
The sun never sets on my gallery.
You find a lot of junk when you're searching through lost and tossed photo ephemera, but every so often you'll find a gem, a wallet-sized masterpiece you're certain could hang on the wall of a gallery if only someone with a name had taken it. Find one or two of those and you're hooked for life.
I never can pass by the Metropolitan Museum of Art in New York without thinking of it not as a gallery of living portraits but as a cemetery of tax-deductible wealth.
Lewis H. Lapham
The Heart Gallery premise is very simple. It is a special traveling exhibit of photographs featuring Los Angeles foster youth, designed to highlight the need to find loving adoptive families for waiting children.
Sometimes when I walk into a gallery and I see someone's work, I think to myself, 'Gee, I wish I had done that.'
At 18 I began painting steadily fulltime and at age 20 had my first New York show at the Macbeth Gallery.
The big pay-off was to work as an artist and gain some shred of respect from your friends, who were also artists. But there was never any notion that you could make a living out of art. On the rare occasions you had a gallery show, and sold a little work, well, that was just gravy.
The Spiral Gallery may happen, too. It is not dependent on government funding.
I don't like books that play to the gallery, but I've become more concerned with telling a story as clearly and engagingly as I can.
I just don't think that the differences you make by donating to a museum or an art gallery really compare to the differences you make by donating to the charities that fight global poverty.
A suit is just a suit: a practical garment, not a ceremonial robe; it can be worn out to dinner with friends or for a visit to an art gallery. Its beauty and craftsmanship are utterly wasted if you think of it as something magical and symbolic.
You never see what you want to see, forever playing to the gallery.
When I was growing up, there was a feeling in one's living room as much as in one's local gallery that a little elitism was good for the soul.
I'm going to put a museum on my ranch and people keep saying, 'That's a huge idea.' Yeah, it's big, but not bigger than the average big movie. A hundred million dollars in the art world is a substantial amount of cash to do anything. That's maybe a big gallery's total sales for a given year.
Martin Luther King, Jr.
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I have a simple philosophy: Fill what's empty. Empty what's full. Scratch where it itches.
Alice Roosevelt Longworth
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