Quotes of All Topics . Occasions . Authors
I would rather hear the pleased laugh of a child over some feature of my exhibition than receive as I did the flattering compliments of the Prince of Wales.
I always appear behind a mask. As such, I can visit my own exhibitions without any visitors knowing who I really am even if I stand a few steps away from them.
The studio is a laboratory, not a factory. An exhibition is the result of your experiments, but the process is never-ending. So an exhibition is not a conclusion.
My idea for every exhibition is we should be able to see every individual work without being distracted by the others, and it doesn't matter if it's quite crowded.
Then I started to do furniture and interiors for a friend and just to get stuff in a magazine, and then slowly started to build up and started to doing exhibitions.
Most museums - with all their burdens to pay for exhibitions, administration, and security - really don't have any money really to acquire art, with few exceptions.
Many people will say, well, clothes should be worn; but I think people can look at them in public, like seeing a film. I think museum exhibitions are very important.
Perhaps there is a minimum distance that should separate one exhibit from another... Indeed those specialized in psychophysics have actually come up with some rules.
These small shows were decidedly a success. The exhibitions were not too large to be seen easily. It was not an effort, as larger collections of pictures usually are.
Being a part of exhibitions is not a burden; it's another way for an independent label such as mine to reach a larger audience by exposing them to my whole body of work.
Of love it may be said, the less earthly the less demonstrative. In its absolutely indestructible form it reaches a profundity in which all exhibition of itself is painful.
That kid's got an arm like Uncle Fester at an exhibition of Pre-Colombian... um, Christ, I lost it. I was going for something thick. So what's with the beard, Grizzly Fouts?
Women artists, no matter how well recognized they are, are seldom given solo exhibitions or featured in significant group shows. They are never top-ranked in auction choices.
Was it my conspicuousness that distressed me? Not at all. It was merely that I was not beautifully conspicuous but uglily conspicuous - it makes all the difference in the world.
My parents have always given me whatever I wanted. Took me to the ballet, the opera, museum exhibitions. I was always surrounded by art. It's their fault I've become an actress.
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.
I am pleased with the exhibition... everything on display was sold for a good price to decent people. It has been a long time since I believed that you could educate public taste.
When I committed to playing a little tennis in some exhibitions, it was the best thing for me. It got me in shape. It got me out of the house. It got me doing something I love to do.
Our Exhibitions [The Royal Academy] have... a mischievous tendency, by seducing the Painter to an ambition of pleasing indiscriminately the mixed multitude of people who resort to them.
I have a publishing company of books by me and books of others. It drew people to poetry readings and photo exhibitions and painting exhibitions that I've been doing for years before that.
My parents didn't agree with what was going on, you know, with the communists coming in, Fidel Castro. I didn't see the reason why I needed to go back there and be a part of that exhibition
Inspiration is tough to define, it comes from so many different places. I have multiple exhibitions touring the globe, so I do travel quite a bit and travel is a great way to find inspiration.
We need to incorporate fashion into every element and institution, whether it be through designer-lecture series, photography exhibitions, or collaborative efforts between artists and designers.
Submit your work to interested societies for exhibition where the critics in the light of their physical well-being and according to the extent of their knowledge, may appraise them conveniently.
I look at the character of the exhibition and I treat it as I would a painting or an installation. When I did the Summer Exhibition at Royal Academy, I did it exactly as I would when making a new work.
I don't have an aversion to quote unquote remakes, because I understand what dramatic writing is, what the dramatic profession has always been about, which is talent, not the pretext for its exhibition.
The word 'Playboy' alone doesn't exactly give most women a warm, fuzzy feeling, yet many of the Playboy photos end up in the most praised photo and art magazines and in critically acclaimed photo exhibitions.
For me, the making of exhibitions has always had to do with dialogue: a concentrated, in-depth, focused dialogue with artists, who keep teaching me that exhibitions should always invent new rules for the game.
I have always thought that it would be nice to not complete the exhibition in one place and close off the others as a result. Exhibitions should connect with various locations and promote exchange and interaction.
Works of art often last forever, or nearly so. But exhibitions themselves, especially gallery exhibitions, are like flowers; they bloom and then they die, then exist only as memories, or pressed in magazines and books.
Art collectors are pretty insignificant in the scheme of things. What matters and survives is the art. I buy art that I like. I buy it to show it off in exhibitions. Then, if I feel like it, I sell it and buy more art.
I don't often go to curator or artist walk-throughs of exhibitions. For a critic, it feels like cheating. I want to see shows with my own eyes, making my own mistakes, viewing exhibitions the way most of their audience sees them.
I was thinking of doing some exhibitions where I combine tennis and music. I might have a show at, say, the Staples Center, where I might play an exhibition against somebody who would be interesting, then take a break and go do a show.
Too often, charity is extended to another when his actions or conduct are acceptable to us. The exhibition of charity to another must not be dependent on his performance. It should be given because of who we are-not because of how we behave.
I believe that you always have to believe. It's the only way; after all we both believe that we will do this exhibition. But I can't believe in God, as such, he's either too big or too small for me, and always incomprehensible, unbelievable.
An exhibition is in many ways a series of conversations. Between the artist and viewer, curator and viewer, and between the works of art themselves. It clicks when an exhibition feels like it has answered some questions, and raised even more.
If your opponent is playing several shots in vain attempts to extricate himself from a bunker, do not stand near him and audibly count his strokes. It would be justifiable homicide if he wound up his pitiable exhibition by applying his niblick to your head.
While in college, we used to go for art exhibitions, theatre shows and music concerts. I have spent a lot of time around Mandi House. At that time, Bharangam Theatre Fest used to be a big thing, and it was a total delight watching plays and performing at the fest.
I believe in originality, primarily. However, it's important to know what there has been before to aim in that direction. Art history informs us. It informs our mind. I like to look at books, exhibitions, paintings, as a computer, subconsciously taking on information.
We are to have no pictures which the puritan and the narrow, animated by an obsolete dogma, cannot approve of. We are to have no theaters no motion pictures, no books, no public exhibitions of any kind, no speech even which will anyway contravene his limited view of life.
I always thought it would be a great thing to do an art carwash. So you can actually go and get your car washed, but while you're sitting around waiting you can walk in that hallway where you look at the cars going through the window, and that could be changing exhibitions.
I still do all my developing and printing in my darkroom. Being in New York, you get tremendous exposure to great arts. In my student years, I saw exhibitions of August Sander and Diane Arbus. I still go back to their pictures. I don't really go for contemporary photo shows.
Everyone goes to the same exhibitions and the same parties, stays in the same handful of hotels, eats at the same no-star restaurants, and has almost the same opinions. I adore the art world, but this is copycat behavior in a sphere that prides itself on independent thinking.
If it were possible for any one person or group of persons to go through a photographic finishing plant's work at the end of a day, you could probably pull out the most extraordinary photographic exhibition we've ever seen. On almost any subject. The trouble is to find the things.
When I say art influences me, which it does, it's not at all in a literal form. You go and see exhibitions or collections or meet an artist. It's all a compilation. Every moment, at all times, all this information. Then all this information disappears, and it shows up later in the process.
Biblical Theology...is that part of Exegetical Theology which deals with the revelation of God in its historic continuity...Biblical Theology, rightly defined, is nothing else than the exhibition of the organic progress of supernatural revelation in its historic continuity and multiformity.
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.
The very paradigm of revolution, of right versus wrong, good versus bad, is a relic with no bearing on the present. Yet artists, exhibitions, and curators valorize the sixties. People who wrote about these artists 30 years ago still write about them in the same ways, often for the same magazines.
We want as best as possible to encourage emerging talent and galleries by their inclusion on Paddle8. Our exhibitions help bring interesting new works on the platform. We have to be agnostic in that respect and the galleries themselves have complete carte blanche as far as what they include on the site.
I had my first exhibition in September, 2012. This was when I first introduced the public to my style of the incorporation of cloth in my paintings. It was well received and everyone was fascinated with the work on display. I also invited other young aspiring artist to display they work which was also well received.