Quotes of All Topics . Occasions . Authors
I love museums, and I think they're fantastic, but they don't touch the people who I frequently think need to be touched with at least some reminder of legacy.
The best museums and museum exhibits about science or technology give you the feeling that, hey, this is interesting, but maybe I could do something here, too.
In Italian museums are sometimes found little painted screens that the priest used to hold in front of the face of condemned men to hide the scaffold from them.
Museums are western inventions where the rich and the powerful or the government and the state tend to exhibit the signs and symbol and images of their culture.
The Arab who built himself a hut with marbles from the temple of Palmyra is more philosophical than all the curators of the museums of London, Paris, and Munich.
Some of the '80s movies I did are sort of museum pieces. St. Elmo's Fire is great as a sort of kitschy, "Oh, my god, I can't believe we wore that" type of movie.
People think it's strange how briskly I move through museums. Sure, I could stand in front of each piece and stare at it for a good long time. But that's not me.
You don't have to go to New York and you don't have to go to LA or London. Go somewhere cheap. Go somewhere with free art museums and then just go to art museums.
This is the worst problem with living history museums. They always leave the best parts out. Like typhus. And opium. And scarlet letters. Shunning. Witch-burning.
I love art and I find myself at the MoMA all the time. Museums are a real refuge for me. I go to a museum for any break that I have, and I'm very inspired by art.
I think there is a new awareness in this 21st century that design is as important to where and how we live as it is for museums, concert halls and civic buildings.
I would go there quite frequently. I met and became close with John Szarkowski of the Museum of Modern Art. He was incredibly supportive about me working in color.
Museums are like the quiet car of the world. It's a place you can come to escape, where there's authenticity, there's uniqueness, there's calm, there's physicality.
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
the theater should be free to the people just as the Public Library is free, just as the museum is free. ... I want the theater to be made accessible to the people.
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.
I believe in the democratization of the arts. What do I mean by that? I think museums, with some exceptions, have a responsibility to educate a much broader public.
I can’t stand these damn shows on museum walls with neat little frames, where you look at the images as if they were pieces of art. I want them to be pieces of life!
We met with the poet Frank O'Hara, who was a link between Upper and Lower Bohemia, and who worked at the Museum of Modern Art, where we had hoped to do the readings.
There's probably more history now preserved underwater than in all the museums of the world combined. And there's no law governing that history. It's finders keepers.
During my time at high school and university in Kreuzlingen and St. Gallen, I traveled around Europe looking at art, visiting artists, studios, galleries and museums.
I don't know whether the future or 2018 exists or not, but if it exists, I'm offering a show to a museum in Australia titled "Time Reversed." Time is going backwards.
My parents were all about education. My mother was a librarian - she retired after 30 years - and she made sure that we were always at museums, that we went to plays.
If you're middle aged... where're you going to go to meet someone? You're not going to go to a bar, you're not going to go to a night club; and there are the museums.
I think that you can treat a classic like a museum piece -stuffed and mounted- or you can make it a living, breathing narrative that is unfolding right then and there.
I'm interested in making works for museums in a way that make the space feel domestic, and I'm always thinking about how this work will be part of someone's daily life.
A day will come when a cannon will be exhibited in museums, just as instruments of torture are now, and the people will be astonished that such a thing could have been.
Beautiful jewelry, a beautiful room - that's what museums are - a beautiful painting, a beautiful face, it makes you feel good to look at, and that's a beautiful thing.
In poetically well built museums, formed from the heart's compulsions, we are consoled not by finding in them old objects that we love, but by losing all sense of Time.
The most basic task of any museum must be the protection of works of cultural significance entrusted to its care for the edification and pleasure of future generations.
Dumbing down takes many forms: art that is good for you, museums that flatter you, universities that increase your self-esteem. Culture, after all, is really about you.
Small paintings can be fantastic. But you can't often get a narrative out of a small painting. In any case, museums are huge places, and you want to take up some space.
But the customer is the final, final filter. What survives the whole process is what people wear. I'm not interested in making clothes that end up in some dusty museum.
I enjoy living life and I enjoy going to different restaurants and eating my way through a country and going to different museums and learning about different cultures.
I write in coffee shops, libraries, parks, museums. I get antsy and then get on my bike and go someplace else, letting the ideas spin around in my head as I dodge taxis.
Of course art world ethics are important. But museums are no purer than any other institution or business. Academics aren't necessarily more high-minded than gallerists.
Comics are given serious attention now and I'm quite surprised. You see them reviewed in major newspapers and exhibited in serious museums. I wouldn't have predicted it.
Art must not be concentrated in dead shrines called museums. lt must be spread everywhere – on the streets, in the trams, factories, workshops, and in the workers' homes.
Read properly, fewer books than a hundred would suffice for a liberal education. Read superficially, the British Museum Library might still leave the student a barbarian.
The fact that the work is affirmed by the Museum of Contemporary Art I think sends continued signals that this is worth paying attention to, looking at, and understanding.
New York being what it is, our museums are vertical, not horizontal. That means the stumbling blocks to architectural clarity are unavoidable - but certainly surmountable.
Museums and bookstores should feel, I think, like vacant lots - places where the demands on us are our own demands, where the spirit can find exercise in unsupervised play.
One of my major goals is to develop a web of the small Wyoming museums and create a major museum system. There are about eight of these museums, and they are all scattered.
Films go into vaults, art into museums, and music into halls of fame. Most fashion is worn for a few seasons and off-loaded into the recycling bin or, worse, some landfill.
By a museum, I assume you mean an institution dedicated to the events of Sept. 11 and the aftermath. If that is done with sensitivity, I think it would be most appropriate.
Like surgeons trying to save a life, the conservators and preservers at New York City museums dedicate themselves to ensuring the longevity of works of art for public view.
I believe that when you go into a gallery or a museum, the most powerful pieces are the ones that don't have the words in the corner that distract you from the larger piece.
An ideal museum show would be a mating of Brideshead Revisited with House & Garden, provoking intense and pleasurable nostalgia for a past that none of its audience has had.
I tell young people that the greatest paintings in museums are made with minerals mixed in oil smeared on cloth with the hair from the back of a pig's ear. It's that simple.
The Metropolitan Museum has all of our collections online, all our scholarly publications and catalogues since 1965. We have online features like the timeline of art history.