Top 376 Gallery Quotes & Sayings

If I had been in the gallery, I'd have gone home.

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.

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.

The sun never sets on my gallery.

Unfortunately, some of the young talants are becoming fashionable. And anything that's fashionable can become unfashionable. So one has to watch that. And it's very easy today because there are so many events - art fairs, gallery openings, etcetera. In fact, that's another thing that concerns me, the quantity of gallery openings. In my office in London, I get back after a week, and I have 30 invitations. It's too much.

I visit a lot of art galleries. I live in Dublin and there's a very good gallery called the Kevin Kavanagh gallery.

For me, art doesn't stop at the gallery space.

The distinction between a gallery and a museum is enormous. The gallery is about looking at a thing of beauty; the purpose of the activity is an aesthetic response. The museum is actually about the object that lets you get into somebody else's life.

The Spiral Gallery may happen, too. It is not dependent on government funding.

History is a gallery of pictures in which there are few originals and many copies.

The appeal all too often is to the gallery, hungry for sensation.

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.

I didn't want to be an actress. I wasn't trying to be in film or an art gallery for me.

I spend a lot of time in bed when I'm off. But if I'm feeling adventurous, I'll go to a gallery.

It's easy to be loud, outspoken, and play to the gallery. It's difficult to underplay one's self.

I think artists are really the root of a tree. They can search for truth or reality in their own way, and the gallery can support them - the outside part of the tree, where it is more about reaching the outside world, connecting with the outside world. That is the role of the gallery, no? Why does the artist have to do that?

There are days when I can hear men tying their shoe laces in the gallery.

The Church is not a gallery for the exhibition of eminent Christians, but a school for the education of imperfect ones.

For a crowd is not company; and faces are but a gallery of pictures; and talk but a tinkling cymbal, where there is no love.

Urs Fischer specializes in making jaws drop. Cutting giant holes in gallery walls, digging a crater in Gavin Brown's gallery floor in 2007, creating amazing hyperrealist wallpaper for a group show at Tony Shafrazi: It all percolates with uncanny destructiveness, operatic uncontrollability, and barbaric sculptural power.

My gallery represents a lot of figurative artists.

I like the idea that things can exist in different formats - in a gallery, a fashion ad, in books.

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.

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.

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.

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.

My dream since I was a kid was to show in a gallery.

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.

I'm actually looking for a gallery, but the thing is some galleries just want to show the video work and some are just interested in the 2-D work. It has to be a gallery where I can do the 2-D collages, the video, and live performance, where it's not this weird conflict, where it can all move forward.

The whole world is an art gallery when you're mindful. There are beautiful things everywhere and they're free.

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."

When you know your work sells, then seeking a gallery or outdoor show is fine. Then, if an event or art gallery kicks sand in your face don't give up, keep moving forward. Use your brain and eliminate a lot of your personal agony. There are times when you should not take NO for an answer. But there are others when you should never put yourself in the place to be rejected to begin with. Seek the wisdom to know the difference and then go for it. Persevere in the face of disappointment.

The sky is the ultimate art gallery just above us.

Moralists have no place in an art gallery.

If you want to be an artist, go to every art gallery, if you want to be in movies, see movies! You have to participate in whichever world you're trying to enter! You have to know what's going on. You can be the best artist in the world but if you don't know one thing about which gallery to go to, you're never going to get it shown in the right place. Learn a little bit about the business of whichever art you're trying to get into. Without it, you will be lost.

The human mind is not, as philosophers would have you think, a debating hall, but a picture gallery.

Ultimately I want my metal in a bar and not an art gallery.

In a gallery, there's an expectation of high prices and a somewhat elitist atmosphere.

The average man plays to the gallery of his own self-esteem.

I don't think anyone would want to come to my gallery show.

I like all sorts of art, that's why I love wandering around The National Gallery.

Being on your own in a gallery is the biggest treat, as long as the lights are switched on.

How much would you want to stand at the wrong end of a shooting 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.

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.

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 gallery is generating work for the masses.

The biggest weakness with my game is that I have fun with the galleries. I just love a gallery.

They are at the end of the gallery; retired to their tea and scandal, according to their ancient custom.

When I found out after that first successful exhibition that the gallery wanted me to do another show like the first one, I come out two years later with four 6-foot drawings of classical nudes masturbating. The gallery director flipped the freak out!

Fear paints pictures of ghosts and hangs them in the gallery of ignorance.

I love going to galleries, particularly the National Portrait Gallery.

I wanted to be a star, not a gallery mascot.

There was a kind of cultural life in New York that wasn't as solidified as it is now, it wasn't as money-driven. If you look at the size of the successful art galleries compared to the size of galleries now - there was no such thing as the Gagosian Gallery or Pace Gallery. But it was a time when magazines were a vital part of American life, and Esquire gave me a free pass to every world - I could get to the art world, the theater world, the movie world. It allowed you to roam through the cultural life of New York City.

When I was 13, I had a weekend job at the Photographers Gallery Bookshop in London.

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.

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.

The gallery in which the reporters sit has become a fourth estate of the realm.

I did a different size of photograph at the FIAT gallery - this time the images are 30" by 40," so they're maybe like four times the size of images I've shown before in a gallery. I just saw them now, and once they're in the mat and the frame, they're just beautiful. It's funny because even though it's closer to life-sized, to me anyway, they become not necessarily anymore about the person, but they almost become a little more heroic.

I have friends in France who are artists. I go to gallery openings and things like that.