Gallery Quotes

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

Burke said there were Three Estates in Parliament; but, in the Reporter's gallery yonder, there sat a fourth estate more important far than they all.

Transforms old print To zigzag manuscript, and cheats the eyes Of gallery critics by a thousand arts.

History, it is easily perceived, is a picture-gallery containing a host of copies and very few originals.

My dream since I was a kid was to show in a gallery.

I always wanted to be an artist, I just didn't know that you could be, or how you could be. I went to an art high school but they never even took me to a gallery.

Moralists have no place in an art gallery.

When I'm in a zone, I don't think about the shot or the wind or the distance or the gallery or anything; I just pull a club and swing.

In 1967 there was no place for photography in a contemporary art gallery. It was almost impossible to get an art dealer to look at, let alone exhibit, anything photographic.

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.

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.

There are days when I can hear men tying their shoe laces in the gallery.

Galleries are nice to me. I sign a lot of autographs.

I never spend more than one hour in a gallery. That is as long as one's power of appreciation persists.

In China, we don't have any contemporary art museums. Until a few years ago, we didn't even have a gallery.

If you just turn to your paper or television each day, there are thousands of stories that are much more shocking than the gallery artworks.

Some pictures are in the gallery because they belong to humanity and others because they belong to the United States.

People see owning a gallery as a way to get rich. I never thought that I could get rich in the art world. I wanted a life in art. I wanted to live with artists. I wanted to make beautiful shows.

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.

The fans, I loved them. My mother would be in the gallery, I would look right at my mother and not remember.

The biggest weakness with my game is that I have fun with the galleries. I just love a gallery.

The galleries are simply corporations in the art world - "Here's a million dollars for this latest piece of crap" - but I'm not about to go along with the gallery system.

I am holed up in a small village where I am doing my own work and it feels great. I have a small gallery and not many people find me, but I am happy being left alone and doing what I love.

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.

In one gallery they actually had a notice which said No Sketching. How obnoxious! I said, How do you think these things got on the walls if there was no sketching?

One of my favorite things about art, especially at a gallery, is hearing people talk about the art. I find it quite amusing.

I think the British learn their history through the prism of this gallery of grotesques known as the royals.

I have an exclusive gallery that takes care of the all of my artworks. I want to stay focused on the art and of creating and let my gallery take care of the more commercial aspects.

When speech is given to a soul holy and true, time, and its dome of ages, becomes as a mighty whispering-gallery, round which the imprisoned utterance runs, and reverberates forever.

Auction houses run a rigged game. They know exactly how many people will be bidding on a work and exactly who they are. In a gallery, works of art need only one person who wants to pay for them.

The New York gallery scene being as incredibly overpopulated and overmoneyed as it is, deep conflicts and contradictions aren't hard to find.

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.

I've always liked the fact that galleries are free to visit in New York.

If I have a piece that's solely based on the web and it's going to also exist in a gallery, it needs to exist in a gallery where it doesn't feel redundant.

I use Instagram as an online gallery to display my work. For me, it's almost more important to exist online than it is in real life.

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

I love the idea of bringing my work to the general public, not just people who go to gallery openings.

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.

Ultimately I want my metal in a bar and not an art gallery.

Grey time-worn marbles Hold the pure Muses. In their cool gallery, By yellow Tiber, They still look fair.

Duchamp's urinal was art once he put it in a gallery. In fact, one working definition of art is anything that is in a gallery.

Creative vision creates art" - he motioned around the gallery - "that shows the rest of the world a new angle. That's beautiful thing." "Or some sort of madness", she said.

The thing I am most interested in is power relations - it is so easy in a relationship like that [of an artist and a gallery manager], to imagine that the other person is living a perfect life.

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.

The Winnipeg Art Gallery has a good collection of Inuit art, and most of what I've seen I've seen there or in the few books I have. I should spend more time researching.

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.

The Impressionists had to fight the gallery system for many years before becoming accepted. One of their methods of fighting was to band together and hold their own shows.

My videos rarely run longer than 20 minutes. They're made for private viewing in your home or specifically either that or for a gallery situation where you sit and look.

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.

From day one, my idea was always to use the gallery as this animated place to discover culture in a much bigger way.