Top 50 Exhibitions Quotes

Women artists, no matter how well recognized they are, are seldom given solo exhibitions or featured in significant group shows. They are never top-ranked in auction choices.

We want as best as possible to encourage emerging talent and galleries by their inclusion on Paddle8. Our exhibitions help bring interesting new works on the platform. We have to be agnostic in that respect and the galleries themselves have complete carte blanche as far as what they include on the site.

Then I started to do furniture and interiors for a friend and just to get stuff in a magazine, and then slowly started to build up and started to doing exhibitions.

Exhibitions are kind of ephemeral moments, sometimes magic moments, and when they’re gone, they’re gone.

I’m constantly making exhibitions in my head.

My parents have always given me whatever I wanted. Took me to the ballet, the opera, museum exhibitions. I was always surrounded by art. It’s their fault I’ve become an actress.

Most museums – with all their burdens to pay for exhibitions, administration, and security – really don’t have any money really to acquire art, with few exceptions.

Many people will say, well, clothes should be worn; but I think people can look at them in public, like seeing a film. I think museum exhibitions are very important.

I have a publishing company of books by me and books of others. It drew people to poetry readings and photo exhibitions and painting exhibitions that I’ve been doing for years before that.

Art collectors are pretty insignificant in the scheme of things. What matters and survives is the art. I buy art that I like. I buy it to show it off in exhibitions. Then, if I feel like it, I sell it and buy more art.

There have been too many miles on the road. I have been doing six or seven exhibitions a week, two or three a night sometimes.

I don’t go to enough exhibitions, purely because it intimidates me.

I believe in originality, primarily. However, it’s important to know what there has been before to aim in that direction. Art history informs us. It informs our mind. I like to look at books, exhibitions, paintings, as a computer, subconsciously taking on information.

So many a time, I would find myself stuck in my studio while, in another country, my exhibitions were opening and I was being celebrated.

Sometimes we complain about being on the road all the time, from tournaments to exhibitions and sponsors’ appearances, but really it’s a doddle.

When I committed to playing a little tennis in some exhibitions, it was the best thing for me. It got me in shape. It got me out of the house. It got me doing something I love to do.

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.

There have been too many miles on the road. I have been doing six or seven exhibitions a week, two or three a night sometimes.

When I was 10, I was playing golf exhibitions with Gene Sarazen and Walter Hagen.

Exhibitions usually are not collected; they disperse after they take place.

I like having those preseason games and exhibitions to really get ready for the regular season and get yourself off to a good start.

These small shows were decidedly a success. The exhibitions were not too large to be seen easily. It was not an effort, as larger collections of pictures usually are.

I don’t often go to curator or artist walk-throughs of exhibitions. For a critic, it feels like cheating. I want to see shows with my own eyes, making my own mistakes, viewing exhibitions the way most of their audience sees them.

Everyone goes to the same exhibitions and the same parties, stays in the same handful of hotels, eats at the same no-star restaurants, and has almost the same opinions. I adore the art world, but this is copycat behavior in a sphere that prides itself on independent thinking.

Being a part of exhibitions is not a burden; it’s another way for an independent label such as mine to reach a larger audience by exposing them to my whole body of work.

Look at lots of exhibitions and books, and don’t get hung up on cameras and technical things. Photography is about images.

For me, the making of exhibitions has always had to do with dialogue: a concentrated, in-depth, focused dialogue with artists, who keep teaching me that exhibitions should always invent new rules for the game.

The word ‘Playboy’ alone doesn’t exactly give most women a warm, fuzzy feeling, yet many of the Playboy photos end up in the most praised photo and art magazines and in critically acclaimed photo exhibitions.

I started going to exhibitions in Switzerland when I was 10 or 11. As a schoolboy, I would go every afternoon to see the long, thin figures of Giacometti.

We want as best as possible to encourage emerging talent and galleries by their inclusion on Paddle8. Our exhibitions help bring interesting new works on the platform. We have to be agnostic in that respect and the galleries themselves have complete carte blanche as far as what they include on the site.

When I first started doing exhibitions, you’d have 20 people down the pub, if you were lucky.

In my 20s, when I was a photojournalist in Beijing. I joined an underground art group and put on clandestine exhibitions of my paintings.

The word ‘Playboy’ alone doesn’t exactly give most women a warm, fuzzy feeling, yet many of the Playboy photos end up in the most praised photo and art magazines and in critically acclaimed photo exhibitions.

Many of the museum directors who make an impact personally curate exhibitions.

After retiring from competition in 1981, I did exhibitions and coached.

When I say art influences me, which it does, it’s not at all in a literal form. You go and see exhibitions or collections or meet an artist. It’s all a compilation. Every moment, at all times, all this information. Then all this information disappears, and it shows up later in the process.

When I started painting 17 years ago, I never imagined that anyone would look at my work or buy my pieces. But now I do about 14 exhibitions each year.

I was thinking of doing some exhibitions where I combine tennis and music. I might have a show at, say, the Staples Center, where I might play an exhibition against somebody who would be interesting, then take a break and go do a show.

In cities across the world, directors of leading arts institutions, galleries and museums know that when it comes to attracting locals to their major exhibitions and shows, weekdays tend to be ‘cultural dead time’ for working people, who are simply too busy to enjoy what their city has to offer.

Women artists, no matter how well recognized they are, are seldom given solo exhibitions or featured in significant group shows. They are never top-ranked in auction choices.

I’m constantly making exhibitions in my head.

I don’t go to enough exhibitions, purely because it intimidates me.

While in college, we used to go for art exhibitions, theatre shows and music concerts. I have spent a lot of time around Mandi House. At that time, Bharangam Theatre Fest used to be a big thing, and it was a total delight watching plays and performing at the fest.

I started going to exhibitions in Switzerland when I was 10 or 11. As a schoolboy, I would go every afternoon to see the long, thin figures of Giacometti.

When I was 17, I met many artists, and it started to become this conversation with artists out of which all of my exhibitions grew.

The very paradigm of revolution, of right versus wrong, good versus bad, is a relic with no bearing on the present. Yet artists, exhibitions, and curators valorize the sixties. People who wrote about these artists 30 years ago still write about them in the same ways, often for the same magazines.

The entire exhibitions industry in the United States of America has filed for bankruptcy.

I have a publishing company of books by me and books of others. It drew people to poetry readings and photo exhibitions and painting exhibitions that I’ve been doing for years before that.

I’m trying to expand the notion of curating. Exhibitions need not only take place in galleries, need not only involve displaying objects. Art can appear where we expect it least.

I still do all my developing and printing in my darkroom. Being in New York, you get tremendous exposure to great arts. In my student years, I saw exhibitions of August Sander and Diane Arbus. I still go back to their pictures. I don’t really go for contemporary photo shows.