I like museums in Berlin a lot, especially in the eastern part. They're extraordinarily good.
I'd like to go back to Paris someday and visit the Lourve museum, get a good running start, and hurl myself at the wall.
I shall never forget what I saw at the Museum of Modern Art: in a spotless schoolroom, fifty little girls painting away at tables covered with brushes, pots, tubes, bowls, staring into space and sticking out their tongues like the clever animals that ring a bell, tongues lolling and eyes vague. Teachers supervise these young creators of abstract art and slap their wrists if what they paint represents something and dangerously inclines toward realism. The mothers - still at the Picasso stage - are not admitted.
I was a terrible history student. They taught me history as if it were a visit to a wax museum or to the land of the dead. I was over twenty before I discovered that the past was neither quiet nor mute.
I just get the feeling that if Jesse Helms was in charge of art in America, you'd go into a museum and see nothing but prints of dogs playing cards.
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.
Museums do not share their collections with other museums unless they get something in exchange. The Metropolitan will deal with the Louvre, but will they send their stuff to Memphis? No.
I don't need to be asking for money for local museums and other projects just to make me look good back home.
My philosophy is that I'm an artist. I perform an art not with a paint brush or a camera. I perform with bodily movement. Instead of exhibiting my art in a museum or a book or on canvas, I exhibit my art in front of the multitudes.
Summer is a great time to visit art museums, which offer the refreshing rinse of swimming pools - only instead of cool water, you immerse yourself in art.
'Summer of Love: Art of the Psychedelic Era,' the Whitney Museum's 40th-anniversary trip down counterculture memory lane, provides moments of buzzy fun, but it'll leave you only comfortably numb. For starters, it may be the whitest, straightest, most conservative show seen in a New York museum since psychedelia was new.
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.
Outside museums, in noisy public squares, people look at people. Inside museums, we leave that realm and enter what might be called the group-mind, getting quiet to look at art.
Various random experiments, cut-ups, fold-ins, juxtapositions, timed writings of other kinds, the "objects assignment" which involves dream, adventure, ancestry. Writing outside, writing on moving vehicles. Looking at paintings in the grand museums of the world in a proscribed way.Little strategies to keep the lalita - play or dance - going. Sometimes it's lonely you know, just you and your own imagination.
To be an artist it is not necessary to make a living from our creations. Nor is it necessary to have work hanging in fine museums or the praise of critics . . . To be an artist it is necessary to live with our eyes wide open, to breathe in the colors of mountain and sky, to know the sound of leaves rustling, the smell of snow, the texture of bark . . . To be an artist is to notice every beautiful and tragic thing, to cry freely, to collect experience and shape it into forms that others can share.
From the outset, MoMA followed the Bauhaus's strict prohibition against design that even hinted at the decorative, a prejudice that skewed the pioneering museum's view of Modernism for decades.
Renzo Piano and Richard Rogers's Centre Georges Pompidou of 1971-1977 - the true prototype of the modern museum as popular architectural spectacle - wound up costing so much more than planned that the French government solved the shortfall by cutting support for several regional museums.
I enjoy art, architecture, museums, churches and temples; anything that gives me insight into the history and soul of the place I'm in. I can also be a beach bum - I like to laze in the shade of a palm tree with a good book or float in a warm sea at sundown.
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
Thinking about something is like picking up a stone when taking a walk, either while skipping rocks on the beach, for example, or looking for a way to shatter the glass doors of a museum. When you think about something, it adds a bit of weight to your walk, and as you think about more and more things you are liable to feel heavier and heavier, until you are so burdened you cannot take any further steps, and can only sit and stare at the gentle movements of the ocean waves or security guards, thinking too hard bout too many things to do anything else.
We look too much to museums. The sun coming up in the morning is enough.
If I had to choose a single destination where I'd be held captive for the rest of my time in New York, I’d choose the Metropolitan Museum of Art.
All too often, schools resemble museums, reflecting the past rather than shaping the future
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.
The biggest looters are the British Museum.
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