A Quote by Natalie Gulbis
I love to be in front of big galleries.
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I love to be in front of big galleries
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.
There aren't that many galleries in Havana. There are a few state galleries and an ever-increasing but still limited number of independent galleries; there's no comparison with the number in New York.
I actually love pressure. I loved playing sport at school in front of a crowd; I love being on stage in front of a big audience. I buzz off that.
We're always looking for the Big Love, the Big High, the next Big Thing to happen. We miss what's in front of us.
I loved playing sport at school in front of a crowd; I love being on stage in front of a big audience. I buzz off 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.
I always have a very good relationship with galleries, a lot of galleries and artists, so I don't want any conflict situations.
Anyone who relishes art should love the extraordinary diversity and psychic magic of our art galleries. There's likely more combined square footage for the showing of art on one New York block - West 24th Street between Tenth and Eleventh Avenues - than in all of Amsterdam's or Hamburg's galleries.
I am all for art's finding a large audience. But the way that's happening now, with big works filling big galleries and bigger shows, is mostly stopping statements from being made. Or heard. Or talked about. Or really examined. It's watering things down.
As a player, you love to play in front of a big crowd.
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'm fortunate in one respect; that I don't have a lot of work in my studio. Most of it's out, gone; either sold or in galleries. I work with a lot of galleries.
I love pitching in front of big crowds and in huge stadiums.
Two main groups like to drop the readymade bomb—galleries and art historians. Galleries love to drop the Duchamp brand because dealers can try to convince clients of an artist’s worth just by mentioning the mouthwatering response readymade. Most Art Historians aren’t interested in what artists are making in Bushwick studios, most of whom rarely wake up with Duchamp on the brain.
I love Tate Modern; there's such great style and shopping here. I love the galleries and the pubs out on the street, just having your pint as the sun is setting.
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