A Quote by Michael Portillo

My grandfather, who was always keen to promote living artists, staged an unprecedented exhibition of Peploe's works at Kirkcaldy in 1928. — © Michael Portillo
My grandfather, who was always keen to promote living artists, staged an unprecedented exhibition of Peploe's works at Kirkcaldy in 1928.
Whenever I'm in Edinburgh, which I visit often, I always try to hop on a train to Kirkcaldy to visit the art gallery, where my grandfather was convenor for 36 years, to revisit the marvellous paintings from my childhood - as do other family members.
If one or two works from a body of work for an exhibition are what you would like to be remembered by, it is a good exhibition.
I remember I went to an exhibition somewhere and one of the artists, an Iranian lady, said, "I wish we had somewhere that our paintings would stay forever." So this idea came to me. I said, "She's right, we should have a place to keep them, and not only Iranian art works, but also of foreign artists."
The music works by itself, but you can change the perception of it by the way you dress, the way you move, the things you say, the things you don't say. And when you realize that everything is staged, then nothing is staged. There's a kind of liberation to that.
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.
Christ is more of an artist than the artists; he works in the living spirit and the living flesh, he makes men instead of statues.
I'd prefer to invite the artists simply to work and have fun with Guatemalan artists. To share missions of life. Maybe that is more important than seeing an exhibition.
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.
My tiny baby blossoming art collection is comprised of works by artists I have either assisted or been mentored by, artists I am friends with, or artists I have traded with. As much as I want to and aspire to acquire works from established artists, I love acquiring works from my contemporaries in order to participate in this moment in time. The advice I would give is know what you like, take your time, and invest in things you feel connected to, as opposed to buying something because it seems cool or "of-the-moment."
I was so impressed with the work we were doing and I was very involved ideologically in photography - that I arranged an exhibition at the College Art Association. The first exhibition I picked the photographs and so on and we had an exhibition in New York.
I think the entrepreneurial activities that make art visible and attractive are what lure people into the amusement park that SoHo has become or that Bushwick or Williamsburg has become. It's not that outsiders come to an area because they hear artists are living there. A lot of people came who were not that interested in living with artists, but they were interested in living like artists and socializing the way that they thought artists socialized.
I was keen to challenge this vernacular as the role of the photojournalist was changing, and images were becoming urgent and more succinctly linguistic. This is why I moved to publishing artists who were challenging the veracity of both the medium and the profession through their works.
PROMOTE A REVOLUTIONARY FLOOD AND TIDE IN ART. Promote living art, anti-art, promote NON ART REALITY to be fully grasped by all peoples, not only critics, dilettantes and professionals.
Pakistan is keen to promote its trade with India, we want economic ties getting stronger with India. Our business community is keen to reach out to their Indian counterparts. And of course, we want to resolve the issue of Kashmir, which is a flash point in our relations.
When you realize that everything is staged, then nothing is staged.
A lot of artists have been persuaded into doing whatever they can do to gain attention. The media, of course, will position and promote the worst of them to the front page. The sidewalk to crime becomes the marketing campaign. These artists have seen it work and sell millions and millions of records for other artists.
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