A Quote by Betty Dodson
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.
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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.
Now there is a big turnover in the galleries. The top galleries are getting better all the time. A lot of galleries just struggle along, then a new one comes along. There are certainly a great number of galleries. I think this argues well for the art but there are, of course, a lot of "phonies" in all the arts.
Many people say, "When I get a million dollars, then I'll be happy because I'll have security," but that's not necessarily so. Most people who acquire a million dollars want another and then another. Or they could be like a good friend of mine who made and lost every dime of a million dollars. It didn't bother him a bit. He wasn't excited about it, but he explained to me, "Zig, I still know everything necessary to make another million dollars, and I've learned what to do not to lost it. I'll simply go back to work and earn it again.
I visit a lot of art galleries. I live in Dublin and there's a very good gallery called the Kevin Kavanagh gallery.
Smart art galleries know it's not the words on paper but the emotion in the piece that makes clients pull out the credit card or check book. The gallery's number one concern is will this stuff sell? What your bio, artist's statement or resume articulates will be of no help if you don't make art that connects with buyers.
One of the crucial underpinnings of New York as a culture capital is that there are multiple markets. There is not just one art gallery district, there are several art gallery districts. I feel that there should be art galleries and art studios in every neighborhood without exception. They should be integrated into the social and physical fabric of the streets. If we want a lively city, we can't just have high towers and dense constructions, we have to have living organisms of streets and neighborhoods. And the arts are a crucial part of that.
Sometime when I was in my mid-twenties I noticed, "Hey, even I don't go into too many art galleries. Why? Because I don't like the vibe in them. If even I'm not going into galleries, then who goes into art galleries in the first place?" It's just a certain, very narrow percentage of the population.
If you want to be an artist, go to every art gallery, if you want to be in movies, see movies! You have to participate in whichever world you're trying to enter! You have to know what's going on. You can be the best artist in the world but if you don't know one thing about which gallery to go to, you're never going to get it shown in the right place. Learn a little bit about the business of whichever art you're trying to get into. Without it, you will be lost.
I'm going to put a museum on my ranch and people keep saying, 'That's a huge idea.' Yeah, it's big, but not bigger than the average big movie. A hundred million dollars in the art world is a substantial amount of cash to do anything. That's maybe a big gallery's total sales for a given year.
I'm going to put a museum on my ranch and people keep saying, "That's a huge idea." Yeah, it's big, but not bigger than the average big movie. A hundred million dollars in the art world is a substantial amount of cash to do anything. That's maybe a big gallery's total sales for a given year.
I had a teammate whose motto was, 'If I make a million dollars, I must spend a million dollars.' I was like, 'If I make a million dollars, I'm hoping I can keep a million dollars.'
I go out and break my leg next year and can't play ever again, I got 40 million dollars. Nothing's guaranteed in this world, except that 40 million dollars.
I was worth about over a million dollars when I was 23 and over ten million dollars when I was 24, and over a hundred million dollars when I was 25 and... it wasn't that important — because I never did it for the money.
The Art we look at is made by only a select few. A small group create, promote, purchase, exhibit and decide the success of Art. Only a few hundred people in the world have any real say. When you go to an Art gallery you are simply a tourist looking at the trophy cabinet of a few millionaires
I think when something becomes a comfortable genre, it's against what street art stood for in the beginning - breaking out of genres and taking art out of galleries. Now street art is in the gallery, and it's all made up into a nice, packaged concept.
People don't really want to hear me say this, but a black person who will give a million dollars to the Museum of Modern Art but won't give a million to the Studio Museum in Harlem is simply mistaken.
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