A Quote by David Galenson

It's not curators, it's not critics, it's not the public, it's not collectors who find great artists - it's other artists. — © David Galenson
It's not curators, it's not critics, it's not the public, it's not collectors who find great artists - it's other artists.
Artists... do not need the applause or condemnation of the critics, the ideas of other artists, or the demands of the collectors.
I relied mainly on other artists, who I think are smarter than critics, any critics or curators or anybody like that. They really know.
While the space for artists and curators has increased enormously, maybe, just maybe, that's left room for too many people calling themselves artists and curators who are simply not up to the term.
Not only were the minds of artists formed by the university; in the same mold were formed those of the art historians, the critics, the curators, and the collectors by whom their work was evaluated. With the rise of Conceptual art, the classroom announced its final triumph over the studio.
I see around 100 shows a month, going from Niketown-size palaces where you feel like yelling, to storefronts in Bushwick. Each has to pay the bills; keep artists happy; and cope with collectors (oy!), curators (ay-yi-yi), critics (woo-hoo!), and occasionally plumbers. That their fiscal life often hangs in the balance only adds to the energy.
Many artists and critics see collectors like kids see their parents: as the ones with money and power who just don't get it. Once they start to mingle with the collectors and learn that they are people who have achieved something who then expand into art, they change their minds.
Too many younger artists, critics, and curators are fetishizing the sixties, transforming the period into a deformed cult, a fantasy religion, a hip brand, and a crippling disease.
Bad artists ignore the darkness of human existence. Good artists often get stuck there. Great artists embrace the full catastrophe of our condition and find beyond it an even deeper truth of peace, healing, and redemption.
Artists need a lot of collectors, all kinds of collectors, buying their art.
I collaborate with Tidal because they're for the artists - the up and coming artists and the O.G.s in the game. It's like a home, the only place we have for the artists to find support.
Basically I feel like my role is to find great songs with the artists, for the artists, and have them shine.
Every movement that slays its gods creates new ones, of course. I loathe talk of the sixties and seventies being a 'Greatest Generation' of artists, but if we're going to use such idiotic appellations, let this one also be applied to the artists, curators, and gallerists who emerged in the first half of the nineties.
I like the idea of the museum world and the university-academic situation where artists talk to each other or where artists or art students study with artists.
I get a great laugh from artists who ridicule the critics as parasites and artists manqués — sucha horrible joke. I can’t imagine a more perfect art form, a moreperfect career than criticism. I can’t imagine anything more valuableto do.
Artists teach critics what to think. Critics repeat what the artists teach them.
People who are artists professionally are not artists because they want to be artists; they have to be artists. They're compelled to get that creativity out and to share that with others.
This site uses cookies to ensure you get the best experience. More info...
Got it!