Here, we’ve compiled a list of the best Galleries Quotes from famous authors such as Edgardo Osorio, Jerry Saltz, Hunx, Linda Colley, Alison Jackson. Let’s look at these pieces of wisdom. We definitely have something to learn from them!
I love art, being so close to the galleries, being by the water – and sunsets from the terrace.
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.
Never did much art till I was in my 30s, except for painting video sets, designing record covers and T-shirts, and making zines and stuff. I thought I was too punk for art and felt grossed out by white-room galleries and art people.
States that have experienced revolutions or have acquired their independence from empires – such as the U.S. or Australia – tend to celebrate their constitutional documents and put them on show in special galleries so that every citizen can become familiar with them. In the U.K., this is not properly done.
I’m a contemporary artist and I show in art galleries and museums. I show a number of photographs and films, but I also make television programs, books and some appetizing, all with the same concept.
Like most dictators, Col Gaddafi detests the metropolis. His vision of Libya is a kind of Bedouin romantic medievalism, suspicious of universities, theatres, galleries and cafes, and so monitors the cities’ inhabitants with paranoid suspicion.
Galleries are easier to steal from than the Apple Store, maybe.
I do quite like sightseeing. I like churches, museums, galleries and all that stuff. I love the smell of a church in Italy or the smell of an old greasy spoon somewhere. I like markets and little funny shops in the backstreets of Florence.
The words that a father speaks to his children in the privacy of home are not heard by the world, but, as in whispering galleries, they are clearly heard at the end, and by posterity.
I grew up in a town where there were no galleries, no museums, no theaters – a very religious, ultraconservative community.
I think the art world… is a very small pond, and it’s a very inbred pond. They rely on information from an elect elite sect of galleries, primarily in New York.
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.
When I’m traveling the world, I don’t ever look anymore at the geography – just enough to catch galleries and paintings.
A lot of my work involves criss-crossing London to visit the many hundreds of projects, theaters, galleries, museums and groups that comprise the capital’s astonishingly rich cultural life.
Some prescient American collectors, including Vicki and Kent Logan and Mera and Donald Rubell, began collecting Chinese art before 2000 with a genuine passion, but as the auction prices exploded everyone was beating a path to the galleries and artist studios in China. It became the ‘China thing.’
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.
I cycled when I was at high school, then reconnected with bikes in New York in the late ’70s. It was a good way of getting around the clubs and galleries of the Lower East Side and Soho.
I’ve always liked artists like Chris Burden, who would take performances, put them in galleries, and then do things that were on the edge.
You’ve got to invest in the world, you’ve got to read, you’ve got to go to art galleries, you’ve got to find out the names of plants. You’ve got to start to love the world and know about the whole genius of the human race. We’re amazing people.
We spend more time at cinemas, theaters, art galleries and theme parks than we do at churches, and they have become our new cathedrals. We can spend hours at any of these places of entertainment but if church service goes on too long we get impatient.
Some government expenditure actually makes a profit. Our theatre leads the world. Loads of tourists must be attracted by the fact that you could spend a week in London doing nothing but visit superb museums and galleries, free.
Of course I believe imaginative architecture can make a difference to people’s lives, but I wish it was possible to divert some of the effort we put into ambitious museums and galleries into the basic architectural building blocks of society.
I like going to New York. I like the galleries and the theatre and the restaurants and bars and music. I think that city is more alive than Los Angeles.
Cincinnatians support a symphony, an opera, a ballet, museums, many galleries and theater groups.
My mum used to paint and my dad did woodturning. We would spend our weekends at craft fairs and art galleries. That was just what we did. We were steeped in that world.
It’s a mystery to me the way that contemporary art galleries function.
Just as the development of earth art and installation art stemmed from the idea of taking art out of the galleries, the basis of my involvement with public art is a continuation of wall drawings.
There are 65 to 70 photography galleries in New York alone. In the U.K., there are no more than five, and they’re all in London.
I haven’t done much art shopping in Vegas. It tends to be from galleries that are London- or L.A.- or New York-based. We’ve never had someone standing over our shoulder telling us something is a good investment.
I wish I could write about shows outside New York. I often feel like the last person to know anything, because I almost never get to leave town, and when I do, I tend to go for three days max. Seeing between 30 and 40 shows a week in 100 or so galleries and museums takes up nearly all my time.
The art galleries of Paris contain the finest collection of frames I ever saw.
People of my generation who became photographers in the late fifties, early sixties, there were no rewards in photography. There were no museum shows. Maybe MOMA would show something, or Chicago. There were no galleries. Nobody bought photographs.
I never really took a proper art class in college. I just started reading art magazines and going to galleries. I was really drawn to it.
If only we could persuade galleries to observe a fallow period in which, for two months every other year, new and old works of art could be sold in back rooms and all main galleries would be devoted to revisiting shows gone by.
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.
Galleries needn’t be exactly like White Columns purely because times are bad again. But the idea of this special space could – should – help shape what comes next.
Great Art is Great because it inspired you greatly. If it didn’t, no matter what the critics, the museums and the galleries say, it’s not great art for you.
I’m trying to expand the notion of curating. Exhibitions need not only take place in galleries, need not only involve displaying objects. Art can appear where we expect it least.
Anyone who relishes art should love the extraordinary diversity and psychic magic of our art galleries. There’s likely more combined square footage for the showing of art on one New York block – West 24th Street between Tenth and Eleventh Avenues – than in all of Amsterdam’s or Hamburg’s galleries.
I love going to art galleries. The Tate Modern is one of my favourite things to do. But I don’t invest in the history of it and I don’t read up on it. I am a guy who would buy a print rather than buy an original.
I’ve always done live art history lectures and small documentaries in the past in Australia, on Australian art and art galleries, so I’ve already done a lot of that.
We now live in the era of fake consensus, or phoney populism, a condition in which galleries and homes are seen to succeed best where they manage feelings of non-difference.
Street art belongs on the street. But I’m a working street artist and I earn my money selling art in the style of street art via galleries.
There’s something pleasing about large, well-lit spaces. I love that dealers are willing to take massive chances in order to give this much room to their artists. Most of all, I love that more galleries showing more art gives more artists a shot.
Can space break? I mean the space of art galleries. Over the past 100 years, art galleries have gone from looking like Beaux Arts salons to simple storefronts to industrial lofts to the gleaming giant white cubes of Chelsea with their shiny concrete floors.
I love Tate Modern; there’s such great style and shopping here. I love the galleries and the pubs out on the street, just having your pint as the sun is setting.
Art suggests stuff that is traded like money, that is kept in galleries and that belongs to the elite, whereas experience is something that everybody has in the course of living.
It’s so important as a creative person to go out and look for things. Go to galleries, talk to people, read books. Yes, you can just type something into Google, but if you read and interact, you’ll have a deeper understanding of the world.
When I go to galleries in New York, I feel like I’m in school. I know that there’s good contemporary conceptual art, but I have a really hard time caring about it. I’d rather look at images of people and things I can relate to. Then again, I didn’t go to art school.
Sometimes, you just have to clear your head and get out to see other things. It is very important to be nourished. I love to go to museums and galleries, I like to see theatre, film, dance – anything creative. It doesn’t promise you inspiration, but it nourishes your creative soul, and that’s good.
I can’t believe that 100% of the people who stand in art galleries looking at art are thinking, ‘Well, here I am, looking at art.’ They must be having some sort of other, unselfconscious experience.
I’m the type of person who far prefers a vacation filled with trips to museums and art galleries, shopping and exploring vintage flea markets, people-watching at cafes, and discovering delicious restaurants as opposed to lounging on a beach for days on end.
When Basquiat was hanging out with Madonna and Fab Five Freddy, and all those worlds were colliding, people have to realize hip-hop and the arts were like this ’cause we both were outcasts: we wasn’t allowed inside the galleries or inside Yankee Stadium. We were writing in the street and making music.
An interesting thing happened in 1989, right as I was graduating: the stock market crashed and really changed the landscape of the art world in New York. It made the kind of work I was doing interesting to galleries that wouldn’t have normally been interested in it.
Television was restricted by my parents. They encouraged reading more than anything. It wasn’t done in a let’s-get-educated kind of way, it was: ‘This looks like it might be fun so let’s do it.’ There were a lot of castles, art galleries, museums and mountains to climb.
There are times when the art world seems like a religious empire. There are great cathedral galleries and pilgrimage sites where treasured art pieces are displayed like holy relics, and this can certainly be a great pleasure on a rainy Sunday afternoon.
The last time money left the art world, intrepid types maxed out their credit cards and opened galleries, and a few of them have become the best in the world.
In cities across the world, directors of leading arts institutions, galleries and museums know that when it comes to attracting locals to their major exhibitions and shows, weekdays tend to be ‘cultural dead time’ for working people, who are simply too busy to enjoy what their city has to offer.
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.
I don’t get paid for what I do in public places. So I invest the money I earn in galleries back into doing the stuff I passionately want to do on the street.