Museums Quotes - Page 13

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Dr. Kertesz mentioned to me a case known to him of a farmer who had developed prosopagnosia and in consequence could no longer distinguish (the faces of) his cows, and of another such patient, an attendant in a Natural History Museum, who mistook his own reflection for the diorama of an ape

I think we still do have a PR problem in the sense that these institutions portray themselves quite often as a museum without the contemporary wing. For a young cutting-edge person, why would you get into that sort of business, which is very clearly geared towards dead or almost dead people?

When I'm working, on stage, entertaining people, or watching someone do something amazing, it inspires me to be the best artist that I can be. I enjoy being around art - whether it be a museum, a Broadway show - or even writing a poem. Those are things that make me feel alive and inspire me.

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.

I'm going to put a museum on my ranch and people keep saying, "That's a huge idea." Yeah, it's big, but not bigger than the average big movie. A hundred million dollars in the art world is a substantial amount of cash to do anything. That's maybe a big gallery's total sales for a given year.

There are many museums dedicated to technology, artistic endeavors, music, and that sort of thing. From that perspective, I think games really do have a place as a kind of collaborative art or a synthesis of all these various aspects into a whole, and that, in itself, can be perceived as art.

I love to draw-pencil, ink pen-I love art. When I go on tour and visit museums in Holland, Germany or England-you know those huge paintings?-I'm just amazed. You don't think a painter could do something like that. I can look at a piece of sculpture or a painting and totally lose myself in it.

I'm from Holland and the history of "Admiral" is something you would read about when you're at school. Nobody knows about these stories and when you go to any museum in Holland, you will see these paintings of these 17th century sea beckels that the Dutch were in to, so it always intrigued me.

Technology is in fact one of the most exciting things that's happened to museums today - but one has to be careful about where one uses it. For instance, the Internet provides an incredible opportunity. It is a way for us to reach audiences around the world and further our educational mission.

Boston was a great city to grow up in, and it probably still is. We were surrounded by two very important elements: academia and the arts. I was surrounded by theater, music, dance, museums. And I learned how to sail on the Charles River. So I had a great childhood in Boston. It was wonderful.

I wish I could write about shows outside New York. I often feel like the last person to know anything, because I almost never get to leave town, and when I do, I tend to go for three days max. Seeing between 30 and 40 shows a week in 100 or so galleries and museums takes up nearly all my time.

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.

Art is the closest you can get to immortality, though it's a poor substitute - you're working for people not yet born - and people want it because it is brilliant. It ends up in museums anyway; the rich have to give it back to the people, it's their only option. There are no pockets in a shroud.

~I'm not someone who [lives] like, 'OK, this is a museum and you can't sit here and you can't touch this and everything has to be put in its place - [the kids] live here as much as we do. You come into our house and a giant elephant and lion are welcoming you. We have toys and things everywhere.~

A lot of the most prolific painters died broke and weren't appreciated in their time. I'm trying to remember who exactly I was thinking of - like Rembrandt, van Gogh or Gauguin. Some of those guys, they got whole floors of museums to themselves but weren't really appreciated in their time at all.

Celtic music is part of the language in Scotland and Ireland, where every kid and grandparent knows those songs, music by the likes of Woody Guthrie and Hank Snow is getting entrenched here. They are part of our cultural language. It's part of a living treasure. It doesn't just belong to a museum.

If every museum in the New World were emptied, if every famous building in the Old World were destroyed and only Venice saved, there would be enough there to fill a full lifetime with delight. Venice, with all its complexity and variety, is in itself the greatest surviving work of art in the world.

Sometimes, you just have to clear your head and get out to see other things. It is very important to be nourished. I love to go to museums and galleries, I like to see theatre, film, dance - anything creative. It doesn't promise you inspiration, but it nourishes your creative soul, and that's good.

When we moved to Europe when I was a teenager, I really did not want to go. I was happy in my school, with my friends, but looking back on it, it was the best experience I've ever had. We traveled every weekend. I experienced incredible new cultures, museums, cities, and it really opened up my eyes.

Until the Eighties, Oslo was a rather boring town, but it's changed a lot, and is now much more cosmopolitan. If I go downtown, I visit the harbour to see the tall ships and the ferries, and to admire the modern architecture such as the Opera House or the new Astrup Fearnley Museum on the water's edge.

There's quite obviously the desire to open the rule sets that allow for inclusion or disclusion. I think that my hope would be that my work set up certain type of precedent, that allowed for great institutions, museums and viewers to see the possibilities of painting culture to be a bit more inclusive.

I started traveling by myself as early as 5 to see my dad. I'd go to Toronto or Los Angeles, depending on what show he was doing, but most often New York, and we would hang out, and he'd take me to museums and Broadway plays. The ones that had the biggest impact on me were the George C. Wolfe productions.

Sometimes we forget that if we do not encourage new work now, we will lose all touch with the work of the past we claim to love. If art is not living in a continuous present, it is living in a museum, only those working now can complete the circuit between the past, present and future energies we call art.

What I'm very upset about is the attempt to dictate to museums what they show, and the statements made by politicians in Washington that have curtailed the freedom of the National Endowment for the Arts. The attention to those issues is deflected by the spin of my supposedly having trivialized the Holocaust.

In the years that I worked in museums, first as a summer student and eventually as a curator, one of the primary lessons I learned was this: History is shaped by the people who seek to preserve it. We, of the present, decide what to keep, what to put on display, what to put into storage, and what to discard.

There are hundreds of Frank Lloyd Wright buildings around the United States and in other countries, too. Wright lived into his 90s, and one of his most famous buildings, the Guggenheim Museum in New York, was completed just before his death. Wright buildings look like Wright buildings - that is their paradox.

An obsession that I've developed in my old age, is great architecture. I bought a house in New Orleans and I became quite enamored of the architecture there. It began there. I travel a lot or my work, so now, wherever I go, I wasn't to find the most beautiful church, the most beautiful museums. Anything ancient.

If you see a wonderful archaic Greek marble object in a museum, it's not only that it's beautiful, but what comes to your mind is the fact that it's 2,600 or so years old, and it was done by a human being at that time who you have such a limited ability to grasp - and yet you have this enormous ability to grasp.

I began working within the streets of Harlem, where, after graduating from Yale [University, New Haven, CT], I became the artist in residence at the Studio Museum in Harlem [New York, NY]. I wanted to know what that was about. I would actually pull people from off of the streets and ask them to come to my studio.

When museums are built these days, architects, directors, and trustees seem most concerned about social space: places to have parties, eat dinner, wine-and-dine donors. Sure, these are important these days - museums have to bring in money - but they gobble up space and push the art itself far away from the entrance.

My parents, who were split up, were so good at keeping my environment strong and keeping everything around me not focused on the fact that we were poor. They got me culture. They took me to museums. They showed art to me. They read to me. And my mother drove two hours a day to take me to University Elementary School.

In some of the great cities of Europe - Paris, Vienna, Prague, and Brussels - tourists bored with life above ground can descend below. All these cities have sewer museums and tours, and all expose their underbelly willingly to the curious. But not London, arguably the home of the most splendid sewer network in Europe.

Every time I was with Sammy [Davis Jr.] it was like going to the show business museum because the stories were so extraordinary, and I didn't care if they were true or not after a while. ... I don't know if he really got high with Humphrey Bogart or not. It didn't matter because he was painting these fantastic pictures.

Peace is not just the absence of war and conflict; it goes well beyond that. Peace must be fostered within the individual, within the family and within society. Simply transferring the world's nuclear weapons to a museum will not in itself bring about world peace. The nuclear weapons of the mind must first be eliminated.

I'm noticing a new approach to art making in recent museum and gallery shows. It flickered into focus at the New Museum's 'Younger Than Jesus' last year and ran through the Whitney Biennial, and I'm seeing it blossom and bear fruit at 'Greater New York,' MoMA P.S. 1's twice-a-decade extravaganza of emerging local talent.

I felt most beautiful on the red carpet in Givenchys sheer lace dress at a dinner hosted by Givenchy in honor of Marina Abramovich at the closing of her Museum of Modern Art retrospective, The Artist is Present, in 2010. It was the first time I had been dressed for an event, and everybody just fell in love with the dress.

In my experience, Cupid's arrows rarely strike two people with the same definition of cleanliness. One partner usually feels like he or she is being asked to live in a furniture exhibit in the British Museum. The other partner remains convinced that he or she is forced to contend with the human version of Hurricane Gilbert.

Last week we went to the museum. A whole whale is hanging from the ceiling. Bigger than big! OK, have you seen a Volkswagon car that's like a bug? Um huh, you know what I'm talking about. That's how big the heart of a blue whale is. I know it's not possible, but if that heart was in me, could I love more?...I would like to.

Titian and Rembrandt, Monet and Rodin, Frank Lloyd Wright and Le Corbusier, Mark Twain and Henry James, Robert Frost and Elizabeth Bishop, to name a few. Twain wrote 'Tom Sawyer' at 41 and bettered it with 'Huckleberry Finn' at 50; Wright completed Fallingwater at 72 and worked on the Guggenheim Museum until his death at 91.

Other thing about [Field Museum of Natural History] which inspired was that in a group of pots you wouldn't see a single example of this kind of pot. You would perhaps see a case with 20 different examples. So you realize that these pots could be repeated again and again, and each time there would be minor variations in them.

Sometimes somebody has an amazing house party and you meet great people and you dance - I've had incredible experiences. But they have been so much fewer than the awful experiences where you're just standing around like, "Why did I come here? We're all just putting on a show for each other and I might as well be in a museum."

In '68 I was 13 years old, so I was a child, but I felt a lot of excitement in listening to things, looking at the pop art coming over from America. My father was an art collector, and he was coming home with these strange pieces of art that weren't exposed in museums. At the time, it was quite revolutionary, very adventurous.

It took the Metropolitan Museum of Art nearly 50 years to wake up to Pablo Picasso. It didn't own one of his paintings until 1946, when Gertrude Stein bequeathed that indomitable quasi-Cubistic picture of herself - a portrait of the writer as a sumo Buddha - to the Met, principally because she disliked the Museum of Modern Art.

Nobody would say the cowshed was heaven and nobody would say the inhuman torture of so many victims be called a revolution of the proletariat. ... A museum should be established to remind China of the follies and disasters that had fallen from 1966 to 1976. We cannot forget what had happened and history should not repeat itself.

If it's really true, that the museum at Liberty University has dinosaur fossils which are labelled as being 3000 years old, then that is an educational disgrace. It is debauching the whole idea of a university, and I would strongly encourage any members of Liberty University who may be here to leave and go to a proper university.

Glass is the most magical of all materials. It transmits light in a special way...Im pleased that my art appeals to so many people of all ages. As a parent and an artist, Im especially looking forward to leaving a legacy at The Childrens Museum, a place where I hope my work brings joy to children who visit from all over the world.

In some ways painters have been more important in my life than writers. Painters teach you how to see—a faculty that usually isn’t highly developed in poets. Whether you take a walk in the woods with a painter, or go to a museum with one, through them you notice shapes, colors, harmonies, relationships that enhance your own seeing.

Visiting the Holocaust Memorial Museum in Washington, D.C., for example, I was struck by its marginalization of any other victims apart from the Jews, to the extent that it presented photographs of dead bodies in camps such as Buchenwald or Dauchau as dead Jewish bodies, when in fact relatively few Jewish prisoners were held there.

I believe that Ryan Murphy is a genius. His instincts remind me of Andy Warhol. I recently went to the Warhol museum in Pittsburgh, and you can see a lot of echoes of Andy in Ryan’s work. Like Andy, Ryan’s finger is so on the pulse of culture that he’s ahead of culture. Their aesthetic and their vision of the world are very similar.

I didn't understand art, until one day Tom Brady took me to the museum, and we looked at the Picasso, and he said, 'Rob, that's a touchdown.' We looked at the Rembrandt and Tom said, 'Rob, that's another touchdown.' We looked at the Vermeer and Tom said, 'Rob, that's another touchdown.' And I said, 'No, Tom, that's just a field goal.'

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