Zitat des Tages über Galerie / Gallery:
I created a successful outdoor youth festival - the Liverd festival - against all good advice. It was a great way to explore and investigate social sculptures. Having that as my kind of studio, outside of a museum or precious white-cube gallery, that was a kind of education.
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.
A work of art when placed in a gallery loses its charge, and becomes a portable object or surface disengaged from the outside world.
Whereas there's a wealth of galleries in Australia, everyone's got a gallery in Australia or wants your work. Because the art scene is smaller in Indonesia, there's not so much competition.
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.
The appeal all too often is to the gallery, hungry for sensation.
The drawing of a 'Pipeline Wave' started with Billabong as a commission for their 2009 Pipeline Masters campaign. My 'Pipeline Wave' drawing later became the start of my 'Waterworks Collection' for gallery prints.
I have had it with people who are threatening me and my kids and my family over simply commenting on the law and criminal procedure, and respecting juries. Because they do work hard. They work way harder than I do; and they work way harder than the rest of those people making those peanut gallery comments.
People look at film in a gallery, and if they walk out after two minutes they know they haven't seen the whole work. But then people look at a painting for two minutes and think they've seen it. Certain paintings are made to be consumed fast. But some require a slowed-down time. You have to go back to them.
The nice thing about the gallery shows is that without having to pay any money you can just go and see it.
I don't think he's permanently affected me except in the sense that I miss him. I miss being him. Or trying to be him. He is one of a gallery of characters that have had an impact on my career and therefore my life.
The Church is not a gallery for the exhibition of eminent Christians, but a school for the education of imperfect ones.
You never see what you want to see, forever playing to the gallery.
Which painting in the National Gallery would I save if there was a fire? The one nearest the door of course.
In college I started studying the stock market. I went down to the stock exchange, watched all the activity from the visitors' gallery, people running around, calling numbers, shouting, and all the paper flying and the bells ringing, and of course that was exciting, and it seemed to lend itself to my analytical skills.
At 18 I began painting steadily fulltime and at age 20 had my first New York show at the Macbeth Gallery.
I think that still, for the most part, even in 2010, the vast majority of museum shows and gallery shows and gallerists are pretty much dominated by men. So having a sense of what women are up to, for me, frankly, is very, very important.
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.
Every so often you might have an outburst in the gallery. That's one of the most exciting things that happen because then you can say, 'Unless there's order we will call the Sergeant at Arms.' And that sounds really scary.
I have played some wonderful leading roles on stage and had the whole 'China Beach' years where I really played a leading man on that. That was a fun change for a character actor. But I'm perfectly happy going back to building my gallery of memorable character roles.
The New York gallery scene being as incredibly overpopulated and overmoneyed as it is, deep conflicts and contradictions aren't hard to find.
My mum was a dancer when she was a kid. Then my parents met and eventually had an art gallery; my dad taught himself how to frame pictures, and then he was a curator at an art gallery in the city I'm from. I'm an only child.
My work sells for £10,000-plus, but my most lucrative piece was a private project that was sold for more than six figures -dollars, that is. The process of the Lego can take weeks, months, or even days. Each one I deliver to specification to each gallery because they want them brought to them fully formed.
History is a gallery of pictures in which there are few originals and many copies.
I wanted to be a star, not a gallery mascot.
The gallery is generating work for the masses.
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.
For me, art doesn't stop at the gallery space.
The type of work I do, which is often called 'Pop Surrealism,' is very separate from Gagosian and Mary Boone type of gallery art.
Sometimes when I walk into a gallery and I see someone's work, I think to myself, 'Gee, I wish I had done that.'
'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.
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 want people to come to me open and vulnerable. When they come to the gallery, they have to leave their watches, their computers, their Blackberrys, iPads, iPhones, because we are so incredibly used to technology, and I wanted to remove that.
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 just got to hear every note. After I left Birdland, I started working at the Jazz Gallery. In the end, I still couldn't play, but I knew how to listen. I was probably the world's best listener.
They are at the end of the gallery; retired to their tea and scandal, according to their ancient custom.