Gallery Quotes

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  • Bernard [Leach] had acquired many [Shoji] Hamada works. Some of them, it was interesting - first of all, Hamada worked in St. Ives for about four years before returning to Japan to start his own pottery. He had exhibitions in London, and if these exhibitions didn't sell out, the galleries were instructed to send the remaining work down to the Leach Pottery, where they would go into the showroom for sale. If Bernard saw one that hadn't sold that he really admired, then he would take it (he would buy it), and it would go into the house.

    Source: www.aaa.si.edu
  • Fear paints pictures of ghosts and hangs them in the gallery of ignorance.

    Robert Green Ingersoll (1882). “Wit, Wisdom, Eloquence, and Great Speeches of Col. R. G. Ingersoll: Including Eloquent Extracts, Witty, Wise, Pungent, Truthful Sayings and Full Reports of the Great Speeches of this Celebrated Man, Together with the Funeral Oration at His Brother's Grave”
  • I see 30 to 40 gallery shows a week, and no matter what kind of mood I'm in, no matter how bad the art is, I almost always feel better afterward. I can learn as much from bad art as from good.

  • 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.

  • The gallery in which the reporters sit has become a fourth estate of the realm.

    "On Hallam's Constitutional History" by Thomas B. Macaulay, 1828.
  • When I see my work in a gallery I often wonder how I got to this point. Sometimes the process of making the work feels like a blur, and I look at the work and wonder how I actually made it.

    "Stories from the Other Side: Polixeni Papapetrou Exhibits at Jenkins Johnson Gallery, NYC". Interview with Caia Hagel, logger.believermag.com. April 29, 2013.
  • Gather knowledge... Visit galleries, museums, art and craft fairs... Read books and magazines. Take workshops. Use your senses. Experience stimulates your memory and imagination.

    Art   Memories   Book  
    Nita Leland (2006). “The New Creative Artist”, p.18, North Light Books
  • Remember, this is back in the '40s, and the idea of a museum being a place where interested people could come in direct contact with works hadn't arrived on the scene yet. That, I think, I first ran into at the Freer Gallery in Washington, D.C., where a man named Marty [Martin] Amt decided that he really felt his job - part of his job, as an assistant [to the] director was to make the collection available to interested people.

    Jobs   Men   Thinking  
    Source: www.aaa.si.edu
  • That's where I got the idea to paint the walls of the gallery with varied colours [at the Whitechapel show]. I tried to figure out how all these Renaissance paintings manage to work together.

    Source: foggysapphires.wordpress.com
  • London' is a gallery of sensation of impressions. It is a history of London in a thematic rather than a chronological sense with chapters of the history of smells, the history of silence, and the history of light. I have described the book as a labyrinth, and in that sense in complements my description of London itself.

    Book   Smell   Light  
  • Through our own creative experience we came to know that the real tradition in art is not housed only in museums and art galleries and in great works of art; it is innate in us and can be galvanized into activity by the power of creative endeavour in our own day, and in our own country, by our own creative individuals in the arts.

    Country   Art   Real  
    "The best of the Group of Seven".
  • There's no question that the galleries still like to see birdies and eagles. If you take them all away, it takes some of the dramatics, the excitement of a golf tournament and we [people] don't want to do that.

    Golf   Eagles   People  
    Source: query.nytimes.com
  • I'm criticizing the way they are perceived. I was going through a book of Marina Abramovic and Ulay's 1970s performance work the other day. These people did two, even three Documentas or Venice Biennales over the course of a decade without any fuss. They would just treat it as any of their other engagements, with the same level of dignity and commitment they'd reserve for a one-day event in a small gallery on the Austrian mountains.

    Book   Commitment   Two  
    Source: www.interviewmagazine.com
  • When I was 14 and living in London, I'd go around Hampton Court Palace with its marvelous atmosphere, through the gateway where Ann Boleyn walked, the haunted gallery down which Katherine Howard ran. It all set me going. It all started from there.

  • I feel like Havana has always been such an amazing, cosmopolitan city that it makes sense that a lot of galleries will want to be present.

    Cities   Want   Gallery  
    Source: www.guernicamag.com
  • Robert Gober, for example. He doesn't seem like somebody who is just going to show in a gallery that asks him to show. He's just making his work, and when he's ready, he's going to show it.

    Example   Gallery   Shows  
    Source: www.interviewmagazine.com
  • 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

  • I don't think anyone would want to come to my gallery show.

    Thinking   Want   Gallery  
    "Venice: Lena Dunham and Laurie Simmons Hope 'My Art' Influences a Generation". Interview with Ariston Anderson, www.hollywoodreporter.com. September 3, 2016.
  • Because each photograph is only a fragment, its moral and emotional weight depends on where it is inserted. A photograph changes according to the context in which it is seen: thus Smith's Minamata photographs will seem different on a contact sheet, in a gallery, in a political demonstration, in a police file, in a photographic magazine, in a book, on a living-room wall. Each o these situations suggest a different use for the photographs but none can secure their meaning.

    Wall   Book   Emotional  
    Susan Sontag (2011). “On Photography”, p.94, Farrar, Straus and Giroux
  • I never really took a proper art class in college. I just started reading art magazines and going to galleries.

    Art   Reading   College  
    Source: www.interviewmagazine.com
  • I worked in an art gallery for a few years, doing administrative assistance stuff, and it exposed me to what the whole world of art dealers and the art market was about.

    Art   Years   Stuff  
    "Road Trip". Interview with Ali Liebegott, logger.believermag.com. October 25, 2013.
  • When Ballesteros triumphed at the British Open in 1979, for his first major win, he hit so few fairways off the tee that he was often mistaken for a gallery marshall.

  • It is important to know: 1) You are OK just the way you are. You need a strong stomach, a tough hide, and to be able to take rejection well. 2) Do your homework. Check out galleries. Don't just walk in with your work. Be as professional as you can. 3)... there is a gallery for everybody.

  • I was recently interviewed for radio in relation to the "Thanksgiving" show [2001] at the Saatchi gallery that I was part of. The interviewer said that people in London were very disturbed that I showed a picture of myself battered ("Nan One Month after Being Battered", 1984) and they thought that I set it up. I was accused of deliberately putting on a wig for that particular picture.

    People   Wigs   Radio  
    Source: foggysapphires.wordpress.com
  • If I had to spend equal time doing paintings, and equal time going to galleries and doing art business, and equal time making music, and equal time going to record companies, or to the publicist or to the lawyer, forget it. It would take four times as long to do all that stuff. Unless I had a patron. That's why Leonardo da Vinci was successful. He had the Medicis, right?

    Art   Successful   Long  
    "The Survivors: Debbie Harry". GQ Interview, www.gq.com. November 4, 2011.
  • The nice thing about the gallery shows is that without having to pay any money you can just go and see it.

    Nice   Pay   Gallery  
  • There was a kind of cultural life in New York that wasn't as solidified as it is now, it wasn't as money-driven. If you look at the size of the successful art galleries compared to the size of galleries now - there was no such thing as the Gagosian Gallery or Pace Gallery. But it was a time when magazines were a vital part of American life, and Esquire gave me a free pass to every world - I could get to the art world, the theater world, the movie world. It allowed you to roam through the cultural life of New York City.

    Source: classic.esquire.com
  • I'm fortunate in one respect; that I don't have a lot of work in my studio. Most of it's out, gone; either sold or in galleries. I work with a lot of galleries.

    Gone   Gallery   Studios  
    Source: www.aaa.si.edu
  • In hindsight I can see that my love for the arts began by watching my father and his colleagues perform on stage in Jamaica, and running a muck among the exhibits of fabulous Jamaican art at the National Gallery while mum was upstairs curating.

    Running   Art   Father  
    Source: www.nerdprobs.com
  • I think circumstance plays a big part in terms of what I do. For example, if I wasn't ever able to show in an art gallery I probably wouldn't really make very much sculpture. But I've had the opportunity to show in big spaces, so I want to fill up that space in the same way you might want to fill up a page.

    Source: www.motherjones.com
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