A Quote by Robert Barry
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.
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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.
If only we could persuade galleries to observe a fallow period in which, for two months every other year, new and old works of art could be sold in back rooms and all main galleries would be devoted to revisiting shows gone by.
I always have a very good relationship with galleries, a lot of galleries and artists, so I don't want any conflict situations.
While it may be a really trying, weird time for the art world, I see good work all the time. If you just go around to that many galleries, and if you stay open, you're going to see work with enough energy and surprise. I don't think I've ever gone to the galleries without coming home thinking, Gee, I now know something I didn't know this morning.
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.
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.
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.
Can space break? I mean the space of art galleries. Over the past 100 years, art galleries have gone from looking like Beaux Arts salons to simple storefronts to industrial lofts to the gleaming giant white cubes of Chelsea with their shiny concrete floors.
A lot of my work involves criss-crossing London to visit the many hundreds of projects, theaters, galleries, museums and groups that comprise the capital's astonishingly rich cultural life.
I don't go to galleries every day because it's so rare that I like what I see. There's a lot of bad art out there and a lot of it is because art has found its way into the university, where it probably shouldn't be.
Galleries, and they're all the same, and rightly so, they sell work.
Galleries are nice to me. I sign a lot of autographs.
Edinburgh is my favourite city. We'll be doing a lot of children's theatre and galleries.
My real father was a portrait painter. I went to a lot of auctions as a kid and galleries.
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 used to live in New York, and I know a number of people who have friends who work at galleries. I spent time hanging out with them, going to openings. It was a good way to do research, to hang out and to look at the art that was present.
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