A Quote by Kim Weston

The gallery is generating work for the masses. — © Kim Weston
The gallery is generating work for the masses.
When I stepped back from the gallery I was in a phase where I thought I wasn't going to be making work for a gallery context for a while. People were like, "You should never leave a gallery if you didn't have somewhere else to go," but I wasn't trying to disrespect the gallerists in that way.
I'm actually looking for a gallery, but the thing is some galleries just want to show the video work and some are just interested in the 2-D work. It has to be a gallery where I can do the 2-D collages, the video, and live performance, where it's not this weird conflict, where it can all move forward.
The city's the best gallery I could imagine. I would never have to make a book and then present it to a gallery and let them decide if my work was nice enough to show it to people. I would control it directly with the public in the streets.
The first exhibition that I used bright colours in painting the room was at a gallery in Paris, and there were seven rooms in the gallery. It was very nice gallery, not very big rooms, around the courtyard, it was a very French space. So I painted each room in different colour. When people came to the exhibition, I saw they came with a smile. Everybody smiles - this is something I never saw in my work before.
I don't look at my work as an avenue for generating more work. For me, my work itself is sufficient.
I've been collecting photos for a long time, I mean since I started making money. But what you have had to go through to find a good photo is like a needle in the haystack sometimes. You'll drive from one gallery to the next gallery to the next gallery. It's not an easy process. It's a very ancient model that just hasn't caught up with the times.
I visit a lot of art galleries. I live in Dublin and there's a very good gallery called the Kevin Kavanagh gallery.
I love the gallery, the arena of representation. It's a commercial world, and morality is based generally around economics, and that's taking place in the art gallery.
The 1,230 gigawatts (GW) of renewable power generating capacity in place at the end of 2009 now constitutes just over 25 percent of total generating capacity worldwide. This is over three times nuclear generating capacity and roughly 38 percent of the capacity of fossil fuel-burning power plants worldwide.
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.
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.
With vertical thinking one may look for different approaches until one finds a promising one. With lateral thinking one goes on generating as many approaches as one can even after one has found a promising one. With vertical thinking one is trying to select the best approach but with lateral thinking one is generating different approaches for the sake of generating them.
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.
We got to face some facts. That the masses are poor, that the masses belong to what you call the lower class, and when I talk about the masses, I'm talking about the white masses, I'm talking about the black masses, and the brown masses, and the yellow masses, too. We've got to face the fact that some people say you fight fire best with fire, but we say you put fire out best with water. We say you don't fight racism with racism. We're gonna fight racism with solidarity. We say you don't fight capitalism with no black capitalism; you fight capitalism with socialism.
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.
I'm almost mentally incapable of drawing a distinction between art I make for the masses, or my clients, and that I make for myself. It all flows from what gets me off, ultimately. It's my viewpoint, and I don't particularly care if it gets seen by gallery patrons, magazine readers, internet audiences, or my friends, as long as it gets seen.
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