I'd live in a museum if I could. I used to spend hours and hours in the Museum of Modern Art.
I would never have expected anything that I did would ever appear in first-rate museums around the world. That was just a choice that I made, very early on. I was interested mainly in the entertainment arts. I wasn't as interested in being a fine artists.
What I love about IMAX is that, when you're in an IMAX theater, in a museum, science center or aquarium, it's eight stories tall and it's immersive, and you can see it in 3D, you really feel like you're being transported to that place.
Most of my life, I thought that I would end up a novelist. But then, in New York City, after college, I started a company with a college friend where we made documentary video for museums. In that capacity, I shot, directed, edited and began to learn the vocabulary of film.
Exposure to the reproductions [of Corbis-owned fine art photographs] is likely to increase rather than diminish reverence for the real art and encourage more people to get out to museums and galleries.
[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.
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!
The Western memory museum is now mostly a visual one.
I don't particularly like showing furniture on pedestals, but for whatever reasons you always have to in museums.
I believe in walking out of a museum before the paintings you've seen begin to run together. How else can you carry anything away with you in your mind's eye?
It was 1975. I had spent the year at the Boston Museum School doing some very bizarre performance works. The last one included going to the North Magnetic Pole and spending all of my money.
I care much more about saving the lives of mothers and babies than I do about a fancy museum somewhere.
Yes, my works... are enshrined in museums, but I don't care if the pieces fall apart in 20 years.
I'd love to open a private museum in Paris, London, or New York, but I don't have the money. If I were Bill Gates or Paul Allen, the first thing I would do is build a museum.
If there are no films or plays of interest to me, I don't go. I know how to go to a museum or a library or pick up a good magazine or I can watch the sun set. I know how to live. There's a whole creation out there full of magic and wonder to be explored.
I am growing to love DC.This [Washington] is a beautiful city. I think every citizen should come see their capital. A lot of the museums are free, there are restaurants that are reasonably priced.
I go to a lot of museums, I read a ton of poetry - anything that's a creative expression of oneself, I find really inspiring.
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.
What I am trying to say is that it is not without any value. The value of copies is that they can direct us towards the original. I was recently at the Louvre Museum and I was filming people who were viewing the Mona Lisa. I noticed the number of ordinary people, astonished, mouths agape, standing still for long stretches looking at the work, and I wondered, "Where does this come from? Are these people all art connoisseurs?" They are like me; through the years, we've seen this work in our schoolbooks or art history books, but when we stand before the original, we hold our breath.
If you had a large vase with a big crack down the middle of it, a Japanese art museum would put the vase on a pedestal and shine a spotlight on the crack!
People want you to be the ambassador of everything. This happens to me especially when I go to Europe. I have to be the ambassador of everything. I learned this from Elena Poniatowska - intelligent woman, great lady, one of my heroes, one of my spiritual mentors, I love her. Someone is in this big museum and they ask her, "Elenita, what do you think about Mexican women . . ." And she says, "I haven't a clue!"
SAD, BUT ONE DAY OUR KIDS WILL HAVE TO VISIT MUSEUMS TO SEE WHAT A LADY LOOKS LIKE.
Our time and attention is scarce. Art is not that important to us, no matter what we might like to believe... Our love of art is often quite temporary, dependent upon our moods, and our love of art is subservient to our demand for a positive self image. How we look at art should account for those imperfections and work around them. Keep in mind that books, like art museums, are not always geared to the desires of the reader. Maybe we think we are supposed to like tough books, but are we? Who says? Many writers (and art museums) produce for quite a small subsample of the... public.
There's so much that I like about Pittsburgh, actually. The cultural district and museums are wonderful, and I encourage everyone to check them out. And the food is excellent, too!
I think my love for books sprang from my need to escape the world I was born into, to slide into another where words were straightforward and honest, where there was clearly delineated good and evil, where I found girls who were strong and smart and creative and foolish enough to fight dragons, to run away from home to live in museums, to become child spies, to make new friends and build secret gardens.
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