A Quote by Tracey Emin
I thought it would be my one and only exhibition, so I decided to call it My Major Retrospective.
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I thought it would be my one and only exhibition so I decided to call it My Major Retrospective.
Keep a record of every picture you paint, have them photographed and write down where they went. Some day, when one reaches a great age, there will be calls for a Retrospective Exhibition of a life's work.
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.
We thought that using rap would draw a parallel with the protest music from the 60s and 70s that we found through the research for animadoc. When we thought about rap, Emicida immediately came to mind and we decided to call him to create this song bring the audience back to earth and put their feet on the ground. Emicida's song is the only one that has lyrics in actual understandable Portuguese.
At a certain time, an artist needs a big retrospective. At other times, they need a more focused exhibition. It's a different story each time; it's about establishing a dialogue.
I look at the character of the exhibition and I treat it as I would a painting or an installation. When I did the Summer Exhibition at Royal Academy, I did it exactly as I would when making a new work.
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.
Not only had I not expected a random call from Joe Biden, but I could never have imagined he would make that call to ask me out. I've been asked if I was starstruck by the fact that a U.S. senator thought I was worth a call, but I honestly wasn't. I was flattered that someone I'd heard of was interested.
ITV and the production company contacted me and asked if I fancied playing the role [of Maigret]. It took me a long time to decide to do it. In fact, I decided not to. I thought about it for some weeks, and thought 'perhaps not' and it went away for a while, and then it sort of came back. They said 'Are you sure you don't want to play him?', so I thought about it for a lot longer again, and eventually decided that I would.
Only an idiot would open an exhibition saying, 'Look at my awesome work.'
The man at Kodak told me the shots were very good and if I kept it up, they would give me an exhibition. Later, Kodak gave me my first exhibition.
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.
Lately, I've discovered the Hellenistic bronzes. I'd never really thought about them much, but then there was this marvelous exhibition - many of them Roman, some of them Greek, all kinds of wonderful standing figures or heads or horses. It all suddenly became a passion of mine. I finally got to see that exhibition, which led to the idea of bringing up the statue in the film.
The studio is a laboratory, not a factory. An exhibition is the result of your experiments, but the process is never-ending. So an exhibition is not a conclusion.
I'm involved with this exhibition, which is a collection of Nobby Clarke's photos of the opening night of my own art exhibition.
I am not really sure that Diana Vreeland did Yves Saint Laurent a favor, as opposed to the world, by putting that exhibition at the Met in 1983. Because I'm sure that Saint Laurent started looking back at his own work. You see that with artists, don't you? Once they get their first retrospective, it's really hard for them to push ahead.
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