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
When the 14th Amendment, equal protection clause was enacted, the galleries in the Senate were segregated. Now we have integration.
I lived through being pooh-poohed by fine art galleries, saying, "Digital is going to destroy the meaning behind photos. " The motion side, the moment all of the cameras come alive with that motion, it was like a dream come true. It enables people to economically experiment with film.
The mind left to itself creates monstrosities, and not only in art galleries. Look at our urban landscapes and industrial wastelands. No civilization has ever produced so much ugliness.
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.
The current climate doesn't represent a threat to the production of art but to the market. I think it's time for artists to get over auction houses, galleries, and high-production-value exhibitions and start using our voices again.
I love the art world, I love art galleries, I love what it means - I love art.
The art world is molting - some would say melting. Galleries are closing; museums are scaling back.
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.
I don't go to galleries every day because it's so rare that I like what I see. There's a lot of bad art out there and a lot of it is because art has found its way into the university, where it probably shouldn't be.
Sometimes commercial galleries ask for particular work to sell, but I try not to be bossed around by them. I didn't become an artist to get bossed around.
Predators and prey always coexist. That's why we have galleries as well as photographers.
We live in a world of crisis, of challenge, and. . . it's in our galleries that we can unpack the civilizations that we're seeing the current manifestations of.
I realise the power of art that does not hang on the walls of galleries.
I love going to galleries, particularly the National Portrait Gallery.
The media, the galleries, the collectors - it's all very chaotic actually. The artworld doesn't have this defined corporate structure that people imagine.
Street art is designed to be seen out of the corner of your eye, on the hoof. Art that's made for galleries is made to be looked at in a more static way for a longer period of time and may not be so striking immediately, but perhaps resonates for a longer period.
Galleries are becoming overwhelmed with psychedelic musicart. I like it; it's a good direction, a new blurring of the lines between what you do.
I've always thought that there shouldn't be any limit to the things that are well designed. And I think that people who consider that art should only be kept for art galleries and doesn't have a role in public life, I think that's too narrow.
I have little art piece, a kind of short film thing I filmed with my friend. It's going to be 20 minutes, and we're going to submit it into festivals but also going to art galleries.
