Museums Quotes - Page 14

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I was just at the newly opened Creationist Museum in Kentucky.... And they have this exhibit of a giant dinosaur...with a saddle on its back. Because the world is only 5000 years old, so man and the dinosaurs had to coexist, and, of course, we rode them. A theory I thought laughable at the age of eight when I saw it on THE FLINTSTONES!

What I miss from the States, I guess, is going to museums and to see small rock shows in small bars. We don't have that in Hong Kong. Unfortunately because the property market is so high, all rent is so expensive, they can't afford to have a rock music bar because those things don't make a lot of money, and they're paying a lot of rent.

The book was turned to the page with Anne Frank's name, but what got me about it was the fact that right beneath her name there were four Aron Franks. FOUR. Four Aron Franks without museums, without historical markers, without anyone to mourn them. I silently resolved to remember and pray for the four Aron Franks as long as I was around.

I gather that a lot of the "pots" in the great museum in Baghdad, which we allowed to be looted and then gutted, are now for sale to the highest bidder on the art and archeology black market. This is good capitalism, I guess, while a museum, being a public trust and accessible to all, is anticapitalist, pretty damn near socialist in fact.

It is hard not to be inspired when you're living in New York. It doesn't matter what you do. I think that there is so much going on in this city. I like walking around or taking the subway, thinking about all the history here, looking at the architecture and all the people; of course, the museums. It's tough to find a better place to live.

People are going to have a good time, you know. One can go have a good time at these big openings in museums. And people go to have a good time. But the thing has another purpose.In the case of museums, it's always got to do with money, people who donate and things like that. And I believe a certain kind of interest has to be demonstrated.

Kitschis one of the major categories of the modern object. Knick-knacks, rustic odds-and-ends, souvenirs, lampshades, and African masks: the kitsch-object is collectively this whole plethora of "trashy," sham or faked objects, this whole museum of junk which proliferates everywhere.... Kitsch is the equivalent to the "cliché" in discourse.

I go into a gallery or museum, and I realize that I don't have to formulate any opinions if I don't want to. I don't have to think this thing through and write about it at any great length. I can think about it if I want to; if not, I can just walk out. So I can enjoy painting really a lot more than I could when I had that sort of pressure.

When I go into a museum and see the mummies wrapped in their linen bandages, I see that the lives of men began to need reform as long ago as when they walked the earth. I come out into the streets, and meet men who declare that the time is near at hand for the redemption of the race. But as men lived in Thebes, so do they live in Dunstable today.

I spent more than ten years working on the Neues Museum. It was a wonderful experience, an example of real collaboration between architects, conservationists, curators, client, politicians, the media, and the public. Discussions, even when difficult, were always about ideas. Ideas matter to Germans. They're a reflective people. That's attractive.

What a museum chooses to exhibit is sometimes less important than how such decisions are made and what values inform them. To have the crucial role of museum professionals usurped by self-serving tycoons in the name of economic imperative threatens not only the integrity of individual institutions but the very principle of art held in public trust.

Turning 30 was really big for me. I can get really stuck on 'I don't like this or that about myself.' I've found that the only thing that breaks that for me is being able to spend time alone, going to the movies by myself or going to art museums alone. I do that a lot. I've discovered the importance of even 15 or 30 minutes a day where it is just me.

New Rule: Since our new national position on science is, "Screw it, we prefer witchcraft," let's not just retire the Space Shuttle Atlantis. Let's drive it to one of the five stupidest States and have the locals beat it with sticks. Putting it in a museum is too dangerous. Someone could steal it, fly it into space and notice we revolve around the sun.

A statue of Apollo in a museum does not seem naked, but attach a tie to its neck and it will strike us as indecent ... The text is one of the components of an artistic work, albeit an extremely important component ... But the artistic effect as a whole arises from comparisons of the text with a complex set of ontological and ideological esthetic ideas.

Museums have no political power, but they do have the possibility of influencing the political process. This is a complete change from their role in the early days of collecting and hoarding the world to one of using the collections as an archive for a changing world. This role is not merely scientifically important, but it is also a cultural necessity.

Modern man receives a large part of his knowledge and general education by way of pictorial impressions, illustrations, photographs, films. Daily newspapers bring more pictures from year to year. In addition, the advertising business operates with optical signals as well as representations. Exhibitions and museums are indeed offspring of this visual hustle.

Scientific data are not taken for museum purposes; they are taken as a basis for doing something. If nothing is to be done with the data, then there is no use in collecting any. The ultimate purpose of taking data is to provide a basis for action or a recommendation for action. The step intermediate between the collection of data and the action is prediction.

You see where the fighter jets are so old that they can't get parts anymore. They have to go to plane - airplane graveyards and museums to get parts for our fighter jets that we're currently using. They don't make the parts. And you have other countries that have brand new equipment. And in some cases, we sell them the equipment. The whole thing is ridiculous.

I like the idea of seeing a film that has the artist's hand in there,a film where you can see his strokes, you can see his working patterns. It's like going to a museum and seeing a Renoir drawing. You want to see their work and you want to see how they put it together. For me to see that in animation is really fresh, it's really exciting, it's really original.

I did make several trips to the very wonderful [Georgia] O'Keeffe museum. Besides the art (my favorite paintings are from her Pelvis series) my favorite thing about the museum is the architecture. I love how enormously tall the doors are - it is like going into a church. There is also something home-like about the layout of the museum. I wish I could live there!

I had hardly expected so dolichocephalic a skull or such well-marked supra-orbital development. Would you have any objection to my running my finger along your parietal fissure? A cast of your skull, sir, until the original is available, would be an ornament to any anthropological museum. It is not my intention to be fulsome, but I confess that I covet your skull.

In a museum in El Paso, Texas, there's a map that shows all the places the border between the U.S. and Mexico has been (because it shifted) - I find it very clarifying (not confusing) to be reminded that everything we feel like we've really pinned down is transient, arbitrary, and marks the site of a painful if not violent negotiation, one that may not have ended.

If the world were to end tomorrow and we could choose to save only one thing as the explanation and memorial to who we were, then we couldn't do better than the Natural History Museum, although it wouldn't contain a single human. The systematic Linnean order, the vast inquisitiveness and range of collated knowledge and beauty would tell all that is the best of us.

You don't see Los Angeles erecting a museum dedicated to the birth place of the Crips and the Bloods and the Mexican Mafia, with a special guided bus tour highlighting the rise of the crack trade, yet you can hop on a bus in Chicago tomorrow to see the famous locales of murders. I have to imagine there's some wonderful academic book on the sociology of this out there.

Psychedelic drugs, especially psilocybin, allow a searchlight to be thrown on these deeper levels of the psyche, as Jung correctly stated. But it is not a museum of archetypes or psychic constructs, as he seemed to assume. It is a frontier of wholeness into which any person, so motivated and so courageous as to wish to do it, can go and leave the mundane plane far behind.

"Dr. Munro, sir," said he, "I am a walking museum. You could fit what ISN'T the matter with me on to the back of a -- visiting card. If there's any complaint you want to make a special study of, just you come to me, sir, and see what I can do for you. It's not every one that can say that he has had cholera three times, and cured himself by living on red pepper and brandy."

The great proliferation of museums in the nineteenth century was a product of the marriage of the exhibition as a way of awakening intelligent interest in the visitor with the growth of collections that was associated with empire and middle-class affluence. Attendance at museums was as much associated with moral improvement as with explanation of the human or natural world.

You're like a witness. You're the one who goes to the museum and looks at the paintings. I mean the paintings are there and you're in the museum too, near and far away at the same time. I'm a painting. Rocamadour is a painting. Etienne is a painting, this room is a painting. You think that you're in the room but you're not. You're looking at the room, you're not in the room.

When I was sixteen and knew nothing about art, I sat through almost six hours of Andy Warhol’s Empire. I did not understand it but thought: this is in a major museum, it must be important, what is going on here? I stayed until the museum closed. His Screen Test films are some of my favorite works made this century, but you need to give them back the time they took to be made.

If you're smart enough you realise that your possessions possess you in their turn. Collecting has a neurotic aspect. I find it boring when collectors found their own private museums or try to establish a memorial to themselves in the form of their collections, it's part of the old aristocratic mentality. I think a collection ought to be dismantled after the collector's death.

Painting is... a correspondence between what you are and what you see. It's a moment when something is holding together in such a way that it is a universe in itself... Within this is a test and also a judgment upon yourself, your capabilities, your promises, and the part that you play in the world. And nobody else can test that for you. Certainly not the Museum of Modern Art.

Things have gotten openly more extreme in the last few years. I was lecturing in Hungary, whose prime minister, Victor Orban, is an example of this trend. All over Budapest, statues have been replaced, museum exhibits have been redone, to turn ethnic Hungarians, not Jews, into the prime victims of the Germans during World War II. Five years ago, who would have thought this possible?

[In the Field Museum of Natural History] we could see very simple, primitive, hand-built pottery from Babylonia and ancient Egypt and so forth, Greece. We could see the most sophisticated things that came out of the Orient - Japan, Korea, and China - some few pieces of European porcelain, majolica [tin glazed earthenware], and that sort of thing. But they had a marvelous collection.

Freedom is like holding a small bird. If you squeeze it too hard, you will kill it. But if you don't hold it firmly enough, it will fly away. Indeed, freedom can be both fragile and elusive, and so-as the McCormick Tribune Freedom Museum so powerfully reminds us-it requires our eternal vigilance, our willingness, our ability, our conviction to stand up for that which we think is right.

Museums, museums, object-lessons rigged out to illustrate the unsound theories of archaeologists, crazy attempts to co-ordinate and get into a fixed order that which has no fixed order and will not be co-coordinated! It is sickening! Why must all experience be systematized? A museum is not a first-hand contact: it is an illustrated lecture. And what one wants is the actual vital touch.

When I got the opportunity to do the new wing [the Schauhaus] for the German Historical Museum, for instance, I didn't see it as an opportunity for my own ego, to do something so exciting that every architectural publication would want to put it on the cover. I accepted it because I knew it was going to be a very difficult project, and I wasn't sure I could do something exciting there.

We are devastated to learn of the death of Alexander McQueen, one of the greatest talents of his generation. He brought a uniquely British sense of daring and aesthetic fearlessness to the global stage of fashion. In such a short career, Alexander McQueen's influence was astonishing - from street style, to music culture and the world's museums. His passing marks an insurmountable loss.

When speaking to parents, I encourage them to take their child(ren) to a children's museum and watch carefully what the child does, how she/she does it, what he/she returns to, where there is definite growth. Teachers could do the same or could set up 'play areas' which provide 'nutrition' for different intelligences... and watch carefully what happens and what does not happen with each child.

The museum in D.C. is really a narrative museum - the nature of a people and how you represent that story. Whereas the Studio Museum is really a contemporary art museum that happens to be about the diaspora and a particular body of contemporary artists ignored by the mainstream. The Studio Museum has championed that and brought into the mainstream. So the museums are like brothers, but different.

Gas Lights - Without Oil, Tallow, Wicks or Smoke. It is not necessary to invite attention to the gas lights by which my salon of paintings is now illuminated; those who have seen the ring beset with gems of light are sufficiently disposed to spread their reputation; the purpose of this notice is merely to say that the Museum will be illuminated every evening until the public curiosity be gratified.

[Cameras] tend to turn people into things and the photograph extends and multiplies the human image to the proportions of mass-produced merchandise and, [in the age of photography] the world itself becomes a sort of museum of objects that have been encountered before in some other museum and to say that the camera cannot lie is merely to underline the multiple deceits that are now practiced in its name.

Unless created as freestanding works, quotations resemble "found" art. They are analogous, say, to a piece of driftwood identified as formally interesting enough to be displayed in an art museum or to a weapon moved from an anthropological to an artistic display.... The presenter of found art, whether material or verbal, has become a sort of artist. He has not made the object, but he has made it as art.

As readers can probably tell from my books, I love the outdoors. I love to hike, kayak, and swim. I also love to read (which is probably not a surprise) and I love the theater and art museums. I especially love all the instruments of art: inks, pens, paintbrushes, watercolors and oils, fine papers and canvases, and although I love to mess around with these tools and objects, I have minimal artistic skills.

For all the casual slurs about 'cultural imperialism', British imperialists were more interested in other cultures than anybody before or since, and, if they hadn't dug it up and taken care of it, we'd know hardly anything about the ancient world. What's important about a nation's past is not what it keeps walled up in the museum but what it keeps outside, living and breathing as every citizen's inheritance.

It is a question in that case of breaking up one piece of art, and whether that piece of art can be as best as possible put back together. So it's an argument to say, maybe that's one of those instances, like the bust of Nefertiti, I think that should be given back [Egyptian piece currently in Neues Museum in Berlin]. It's one of those pieces you look at and think that would probably be the right thing to do.

Let the people walk. Or ride horses, bicycles, mules, wild pigs-anything-but keep the automobiles and the motorcycles and all their motorized relatives out. We have agreed not to drive our automobiles into cathedrals, concert halls, art museums, legislative assemblies, private bedrooms and other sanctums of our culture; we should treat our national parks with the same deference, for they, too, are holy places.

When people go to museums and see a sculpture made out of marble, they appreciate it but it's very doubtful that they will go home and have a slab of marble they can chip away at, but people do have LEGO. I don't have any LEGO specially made for me, all of the shapes, sizes and colours I use are available in stores so that if someone is inspired to create on their own, they can go and buy the very same bricks.

I wonder if we are seeing a return to the object in the science-based museum. Since any visitor can go to a film like Jurassic Park and see dinosaurs reawakened more graphically than any museum could emulate, maybe a museum should be the place to have an encounter with the bony truth. Maybe some children have overdosed on simulations on their computers at home and just want to see something solid--a fact of life.

In Iraq, until before the war, the women were scientists, museum directors, doctors. I'm not valourising Saddam Hussein or the Soviet occupation of Afghanistan, which was brutal and killed hundreds of thousands of people - it was the Soviet Union's Vietnam. I'm just saying that now, in these new wars, whole countries have slipped into mayhem - the women have just been pushed back into their burqas - and not by choice.

If you press-mold a pot or if you slab-build a pot, the work has got to take much, much, much longer than if you work on the wheel. And I to this day have the ideal that I want my work to be not too expensive, so that if people buy it and break it, it's not going to be the end of the world. I'm not interested in having things in museums, although some of our work has ended up there, but that's not what I'm striving for.

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