Of course, museums and galleries and art spaces will continue to ground the art world. But certainly the public - as well as artists - also benefit when art is encountered in other everyday situations.
When I'm traveling the world, I don't ever look anymore at the geography - just enough to catch galleries and paintings.
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.
I'm a contemporary artist and I show in art galleries and museums. I show a number of photographs and films, but I also make television programs, books and some appetizing, all with the same concept.
Whereas there's a wealth of galleries in Australia, everyone's got a gallery in Australia or wants your work. Because the art scene is smaller in Indonesia, there's not so much competition.
We now live in the era of fake consensus, or phoney populism, a condition in which galleries and homes are seen to succeed best where they manage feelings of non-difference.
First of all, I only get 50 percent of it, because, I mean, the galleries get 50 and 60 percent. I mean, that's normal. I understand that. I don't quarrel with that.
I visit a lot of art galleries. I live in Dublin and there's a very good gallery called the Kevin Kavanagh gallery.
When the 14th Amendment, equal protection clause was enacted, the galleries in the Senate were segregated. Now we have integration.
Some prescient American collectors, including Vicki and Kent Logan and Mera and Donald Rubell, began collecting Chinese art before 2000 with a genuine passion, but as the auction prices exploded everyone was beating a path to the galleries and artist studios in China. It became the 'China thing.'
