A Quote by Kalup Linzy
If I have a piece that's solely based on the web and it's going to also exist in a gallery, it needs to exist in a gallery where it doesn't feel redundant.
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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 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.
I remember when I went to a gallery in Paris at one point, they had drawings of earthworks set in different places. I asked the person sitting at the gallery desk where these works were - where in France they could be found. She looked at me in horror as if I'd asked something completely insane. She said, "Well, of course, these works don't actually exist. They're concepts."
I like the idea that things can exist in different formats - in a gallery, a fashion ad, in books.
The gallery closed its doors in 1971. I could no longer psychologically handle the needs of 12 artists. I cared about all of them, and what was happening with their careers. I'm just not a person who can do that indefinitely. And tax-wise I was concerned because they gallery wasn't making money; it was losing money.
I've been collecting photos for a long time, I mean since I started making money. But what you have had to go through to find a good photo is like a needle in the haystack sometimes. You'll drive from one gallery to the next gallery to the next gallery. It's not an easy process. It's a very ancient model that just hasn't caught up with the times.
I visit a lot of art galleries. I live in Dublin and there's a very good gallery called the Kevin Kavanagh gallery.
In 1983, I was working at an art gallery in Los Angeles and going to film school at Los Angeles City College. At that time, Jean-Michel Basquiat was a young painter and was visiting L.A. for his first show at the Larry Gagosian Gallery.
I use Instagram as an online gallery to display my work. For me, it's almost more important to exist online than it is in real life.
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.
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.
The web of time - the strands of which approach one another, bifurcate, intersect, or ignore each other through the centuries - embraces "every" possibility. We do not exist in most of them. In some you exist and not I, while in others I do, and you do not, and in yet others both of us exist.
The first exhibition that I used bright colours in painting the room was at a gallery in Paris, and there were seven rooms in the gallery. It was very nice gallery, not very big rooms, around the courtyard, it was a very French space. So I painted each room in different colour. When people came to the exhibition, I saw they came with a smile. Everybody smiles - this is something I never saw in my work before.
The city's the best gallery I could imagine. I would never have to make a book and then present it to a gallery and let them decide if my work was nice enough to show it to people. I would control it directly with the public in the streets.
Works of art often last forever, or nearly so. But exhibitions themselves, especially gallery exhibitions, are like flowers; they bloom and then they die, then exist only as memories, or pressed in magazines and books.
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.
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