My dad is a sculptor and a painter, and mum runs an art gallery, which sells beautiful jewelry and ceramics and paintings – local and international.
In the theater, you have to speak so people in the last row of the peanut gallery can hear you. With television, the camera does that work for you.
The nice thing about the gallery shows is that without having to pay any money you can just go and see it.
Art is often defined as a famous masterpiece in a gallery, and we are meant to visit the work and view it to appreciate it. But that is not all there is.
I spend a lot of time in bed when I’m off. But if I’m feeling adventurous, I’ll go to a gallery.
Because of my job, I get a lot of opportunity to grab a few days here and there in many cool cities for press commitments, magazine shoots and premieres – Barcelona, Madrid, Rome, Paris, Stockholm, New York, Berlin. I always try to get to a gallery or museum if there’s time.
People look at film in a gallery, and if they walk out after two minutes they know they haven’t seen the whole work. But then people look at a painting for two minutes and think they’ve seen it. Certain paintings are made to be consumed fast. But some require a slowed-down time. You have to go back to them.
In a gallery, there’s an expectation of high prices and a somewhat elitist atmosphere.
Courtesy is a silver lining around the dark clouds of civilization; it is the best part of refinement and in many ways, an art of heroic beauty in the vast gallery of man’s cruelty and baseness.
Graffiti is art, but you don’t see graffiti in the National Gallery. Graffiti is on the street – that’s where it belongs.
A suit is just a suit: a practical garment, not a ceremonial robe; it can be worn out to dinner with friends or for a visit to an art gallery. Its beauty and craftsmanship are utterly wasted if you think of it as something magical and symbolic.
Whenever I’m in Edinburgh, which I visit often, I always try to hop on a train to Kirkcaldy to visit the art gallery, where my grandfather was convenor for 36 years, to revisit the marvellous paintings from my childhood – as do other family members.
You find a lot of junk when you’re searching through lost and tossed photo ephemera, but every so often you’ll find a gem, a wallet-sized masterpiece you’re certain could hang on the wall of a gallery if only someone with a name had taken it. Find one or two of those and you’re hooked for life.
The Church is not a gallery for the exhibition of eminent Christians, but a school for the education of imperfect ones.
The drawing of a ‘Pipeline Wave’ started with Billabong as a commission for their 2009 Pipeline Masters campaign. My ‘Pipeline Wave’ drawing later became the start of my ‘Waterworks Collection’ for gallery prints.
As artists we need to stop making work only for gallery or museum walls, or the coffee tables of collectors.
A work of art when placed in a gallery loses its charge, and becomes a portable object or surface disengaged from the outside world.
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.
The type of work I do, which is often called ‘Pop Surrealism,’ is very separate from Gagosian and Mary Boone type of gallery art.
The best place for puffin watching is Sumburgh Head, at the south end of the Shetland mainland. There used to be a lighthouse there, but it’s now a visitor centre and gallery; they run a webcam, so you can check on the puffins in advance.
Art is inspiring. Walking into a gallery, or when the lights go up on a stage; that thrill of getting something that has nothing to do with acquisition.
History is a gallery of pictures in which there are few originals and many copies.
My mother fed my love of demons, science fiction, and paranormal. She was a devout horror movie fan who kept me up until the wee hours to watch ‘Outer Limits,’ ‘Night Gallery,’ ‘Twilight Zone,’ and ‘Star Trek.’ We lived to watch those reruns.
My gallery represents a lot of figurative artists.
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.
You just gotta record stuff and move on and make new material. Painters don’t wait until they’re in some specific gallery before they move on to the next painting.
As humans we look at things and think about what we’ve looked at. We treasure it in a kind of private art gallery.
It made me proud to know I’d join a long gallery of actors covered in blood in movies.
They are at the end of the gallery; retired to their tea and scandal, according to their ancient custom.
Sometimes when I walk into a gallery and I see someone’s work, I think to myself, ‘Gee, I wish I had done that.’
It’s easy to be loud, outspoken, and play to the gallery. It’s difficult to underplay one’s self.
My family runs a little art gallery back in Cornwall, so flashy cars and things like that have never really been particularly interesting to me.
I’ve always had this dream of doing an art gallery thing, and it was just finally, ‘All right, let’s do it.’
I respect Virgin Atlantic’s brave and challenging attitude and the way it goes against the grain, so I jumped at the chance to be part of the first ever Gallery in the Air.
They give us courage, but you can’t play for the gallery, you have to play for your team-mates.
When you get older, you look at who has power differently. When you’re 21 years old, and you do something ridiculous at the National Art Gallery and get kicked out by the security guard, in your mind, you’re speaking truth to power.
I want people to come to me open and vulnerable. When they come to the gallery, they have to leave their watches, their computers, their Blackberrys, iPads, iPhones, because we are so incredibly used to technology, and I wanted to remove that.
The big pay-off was to work as an artist and gain some shred of respect from your friends, who were also artists. But there was never any notion that you could make a living out of art. On the rare occasions you had a gallery show, and sold a little work, well, that was just gravy.
I have a suspicion that a lot of artists are trying to get a laugh but, unlike stand-ups, they don’t get an immediate response from their audience; a laugh is a rare thing in a gallery.
My father was a self-employed textile agent, and the shop below his office was an art gallery.
The New York gallery scene being as incredibly overpopulated and overmoneyed as it is, deep conflicts and contradictions aren’t hard to find.
I did this whole series on the buffalo soldiers-on black soldiers-I did another series on black cowboys, and I presented myself to the gallery system, and all these people with these massive collections didn’t know there were black cowboys or black soldiers. I ended up hitting a niche I didn’t know was there.
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.
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.
I once saw an elaborate landscape in a gallery, drawn in pencil, that took my breath away. Then I realized the artist probably didn’t have enough confidence to use a pen.
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.
The sun never sets on my gallery.
Auction houses run a rigged game. They know exactly how many people will be bidding on a work and exactly who they are. In a gallery, works of art need only one person who wants to pay for them.
Movies are not an art form where you get to kind of sit in your art gallery and paint, you know? You don’t do that. You’re spending a lot of somebody else’s money.
I like all sorts of art, that’s why I love wandering around The National Gallery.
I never can pass by the Metropolitan Museum of Art in New York without thinking of it not as a gallery of living portraits but as a cemetery of tax-deductible wealth.
I came to theatre as a teenager by going to the National Theatre when it was at the Old Vic and sitting on padded seats in the gallery for 15 pence, which was the price of a bus fare.
If I had been in the gallery, I’d have gone home.
The Washingtonian said it shouldn’t be built. The gallery’s East Building is now considered a triumph, and members of the American Association of Architects have voted it one of the best buildings of all time.
Every government secretary of state or minister should jolly well go to the theatre, go to a concert, go to an art gallery, go to a museum, become somehow interested in these things. If they’re not interested, they shouldn’t be in government, full stop.
I grew up with the great Sir Laurence Olivier, and I think it’s fair to say that a lot of actors of my age were influenced by his very individual vocal delivery. He was a showman who would always play to the gallery.
