A Quote by Samuel Barnett

I like all sorts of art, that's why I love wandering around The National Gallery. — © Samuel Barnett
I like all sorts of art, that's why I love wandering around The National 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.
Public art is a unique type of art. It's very different to gallery art because it is something that we pass by every day and it inevitably creates a lot of discussion in a way that gallery art does not.
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.
In hindsight I can see that my love for the arts began by watching my father and his colleagues perform on stage in Jamaica, and running a muck among the exhibits of fabulous Jamaican art at the National Gallery while mum was upstairs curating.
At one point Trudeau mentioned to me that the National Gallery wanted to buy a masterpiece by the great Italian painter Lotto, and it needed a million dollars from the Treasury Board. "Is that Lotto-Quebec or Lotto-Canada?" I joked, but I got the message, and the National Gallery got the painting.
Growing up in the '70s and '80s when my dad had an art gallery, one of the things that frustrated me was the world seemed so tiny, and to appreciate contemporary art, you needed a history of art, a formal education. I was more interested in the people, and that's why I went into the movie business in the first place.
I love going to galleries, particularly the National Portrait Gallery.
I visit a lot of art galleries. I live in Dublin and there's a very good gallery called the Kevin Kavanagh gallery.
The National Gallery is the place that means to represent everything that's good and important in art and show what it believes everyone who is a citizen should recognize and engage.
My mother was willing to support art as a summer program for me. She never supported it as a career decision until I won the National Gallery Portrait Competition.
One of the crucial underpinnings of New York as a culture capital is that there are multiple markets. There is not just one art gallery district, there are several art gallery districts. I feel that there should be art galleries and art studios in every neighborhood without exception. They should be integrated into the social and physical fabric of the streets. If we want a lively city, we can't just have high towers and dense constructions, we have to have living organisms of streets and neighborhoods. And the arts are a crucial part of that.
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 know street art can feel increasingly like the marketing wing of an art career, so I wanted to make some art without the price tag attached. There's no gallery show or book or film. It's pointless. Which hopefully means something.
Graffiti is art, but you don't see graffiti in the National Gallery. Graffiti is on the street - that's where it belongs.
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.
I don't have a favorite place to see art. I like to encounter it anywhere, museum, gallery, home, studio, street... I do prefer to see good art, when I see art, but it doesn't matter where I see it.
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