Quotes About 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.

Why would someone want to start a museum in New York City when the Whitney and the Modern were already there? The answer was that the bigger museums were ill-equipped to respond quickly to radical or sudden changes in the arts, in part because exhibitions had to be scheduled years ahead of time to allow for securing loans, preparing catalogue, and, most important of all, obtaining funding.

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.

We play Snooker Legends exhibitions and there is never a spare ticket.

When the purse strings tighten up at museums, the institutions usually cut back and cancel shows. That's exactly the wrong reaction. In fact, now is a good time for them to loosen up - a chance to breathe and experiment a little - and go for the juicy solution lurking in their own basements.

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.

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.

By the time I was 9, I was frequently asked to play exhibitions at grand openings, fund-raisers for charities, and other special events.

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

You cannot always make such big exhibitions, because they consume too much time and energy.

Disgusted by Edison's shameless cruelty and dishonesty, Tesla began performing regular exhibitions of his technology in his laboratory in which he lighted lamps by allowing alternating current electricity to flow through his body. Public opinion swung to and fro, unsure of whom to believe.

Inspiration is tough to define, it comes from so many different places. I have multiple exhibitions touring the globe, so I do travel quite a bit and travel is a great way to find inspiration.

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.

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 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.

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.

I think there's a sort of agony with all intelligent and very creative designers that it's only fashion, that in the end it's only the decorative arts. I had a feeling towards the end that Saint Laurent and Berge were very keen to attain that immortality that a lot of designers long for. You know, those endless exhibitions.

The way caricaturists utilized the convention of romantic Salon painting as the basis of a number of images suggests they regarded the Salon as a bastion for official taste and propaganda image-making that often favored the inclinations of the royal family. Caricaturists began to make serious intrusions into the sanctity of Salon exhibitions through their print satires.

If only we could persuade galleries to observe a fallow period in which, for two months every other year, new and old works of art could be sold in back rooms and all main galleries would be devoted to revisiting shows gone by.

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.

The museums want large crowds coming to the shows - it's the same thing. It's hype. Absolutely. But there's nothing evil about it.

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

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.