Quotes of All Topics . Occasions . Authors
When I was preparing 'Kiss Me, Kate,' I did go to the Museum of Broadcasting and watched an old kinescope of Alfred Drake doing the role on a television special. It was interesting, but I didn't feel any need to try to copy him.
On the personal side, family is really important to me. I have a big family - five kids and 12 grandkids - so keeping that going is wonderful. And I do a lot of philanthropy. I'm chairman of the San Francisco Museum of Modern Art.
I own thousands of capes and suits that are a fashion designer's dream. They will eventually be displayed in a museum. The colors, styles, outfits, boots, and brooches of my wardrobe were representative of the signs of the zodiac.
Information-sharing between Western governments about the identities of those who have traveled to Syria and have received militant training is the key to preventing more incidents such as the one at the Jewish Museum in Brussels.
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.
Studying art history is actually one of the few ways of getting a good job in the arts sector. It's hard to be a museum curator without it, work in any senior position in an auction house or gallery, or become a serious art critic.
Generally my response to seeing something really symmetrical and perfect is... it's the scene with Jack Nicholson's Joker in the first 'Batman,' the museum scene. Him just spray-painting the Mona Lisa, and whatever, with his goons.
My childhood hero was David Attenborough. He opened my eyes to the wonder of the natural world. In fact, he's still my hero. I interviewed him at the Science Museum in 2015, and he is such a thoughtful, humble and inspiring person.
The world of contemporary art has, in a way, exponentially expanded in the last couple of decades, and almost every major city in Europe and Asia and North America has fallen over themselves to have their own contemporary art museum.
I first drew the attention of my future husband when we were fourteen, on the freshman school bus for an epic field trip from Riverside, Calif. to Los Angeles, where we were taken to the L.A. Zoo as well as the Natural History Museum.
The architect who first inspired me to follow this profession was Sir John Soane and his Regency home; well, his three homes, now a museum. The place is like an encyclopedia of paintings, antiquities, furniture, sculptures, and drawings.
I think that still, for the most part, even in 2010, the vast majority of museum shows and gallery shows and gallerists are pretty much dominated by men. So having a sense of what women are up to, for me, frankly, is very, very important.
I don't decide where I live. My wife decides. She's a curator of contemporary art, and she works at an art museum, so we go wherever she has a job. All basements look the same, so I can write from whatever basement I happen to be living in.
Despite living in an increasingly digital world, there are a few things I still like to keep as physical reminders. So every time I see an exhibition, I make a pit stop at the museum gift shop to buy a postcard of something that inspired me.
When I was 16, my dad took me to a DNA conference at the Exploratorium science museum in San Francisco, California, and I was captivated by this way of looking at biology and by the discussions of bits of nucleic acid that could make us sick.
I have a hippopotamus skull next to my bed, called Gregory. When I was six, my three sisters and I clubbed together and paid £4 for it in a junk shop. We collected owl pellets, ostrich eggs and sheep skulls for our natural history museum at home.
If you want proof of what the country is really all about, just walk through the National September 11 Memorial Museum. Here it is, in the faces of the victims, in the stories of bravery, in the souls and memory of the survivors, the next of kin.
People of my generation who became photographers in the late fifties, early sixties, there were no rewards in photography. There were no museum shows. Maybe MOMA would show something, or Chicago. There were no galleries. Nobody bought photographs.
This is the kind of stuff me and my friends talk about. We sit around and drink coffee, and we're really angry: We're like, 'Where's the Latino Museum?' Where can we go with our families, where can we go with our friends to learn about our history?
A great day in New York would be to wake up, get a cup of coffee and head up to Central Park for a nice walk. Then I'd go down to the East Village and stroll around. After that, maybe I'd go check out a museum or catch an indie film at the Angelika.
I have a passion for modern and contemporary art. I spend a lot of time in museums; I particularly like the Guggenheim, MoMA in New York or LACMA and the Getty Museum in Los Angeles, for example. I cannot wait for the Louis Vuitton Foundation to open.
I was living in Paris, which is a very beautiful, very wonderful place, but a tight place as a city, a tight place culturally. Its people are very brilliant, thoughtful, the place functions, but it's a historical place in some ways, like a big museum.
If I'm doing a logo, I'll do it in black and white. Once the form is feeling right, only then do I start exploring the color palettes. A good example was the process of rebranding the Salvador Dali Museum. I did at least 100 versions in black and white.
Every government secretary of state or minister should jolly well go to the theatre, go to a concert, go to an art gallery, go to a museum, become somehow interested in these things. If they're not interested, they shouldn't be in government, full stop.
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.
When I visited Israel for the first time, in 2014, on a trip sponsored by the National Religious Broadcasters, I went to the Museum of The Bible with our group. There, we saw the most ancient and original versions of both the Hebrew and Christian bibles.
I love the Country Music Hall of Fame. I don't think it's just a hall of fame and it's not just a museum. It's a schoolhouse. It's a place where people from all across the world can come and learn about this great genre that we're making a living out of.
The Bruce Lee Action Museum will represent action in the sense that the word is not just used to mean action in the martial arts or films. It is really meant to be a much broader definition as far as taking action, my father's belief of self-actualization.
I am very happy working for my European brands. My legacy isn't going to be a museum. Yet I would be very good at it. It's so painful. It's like everything - the same old guys - Herzog & de Meuron, Frank Gehry, Renzo Piano - they don't pick original people.
I love my Force Fins, which are the kind of fins Special Forces use and really are adapted from the fins of fish. They're very efficient. They are so beautiful, a pair is in the Museum of Modern Art. The set I have are ruby red. I call them my ruby flippers.
I'm Chief Executive Officer at Art of the Olympians Museum in Fort Myers, Florida, which was founded by my Mexico City teammate Al Oerter and his wife Cathy in 2005. It shows that Olympians can have another life; we have got art from more than 100 Olympians.
There's a lot of surplus rage from the '60s that was never really worked through publicly. I think a lot of that rage still exists, and I think you see that when John McCain runs a commercial that beats up on Hillary Clinton's earmark for a Woodstock museum.
My husband is the romantic one in our relationship. He's always doing sweet things for me. Each year, we recreate our first date - it was a blind date, and we met at the zoo, followed by a trip to the museum. I'd have to say that's my favorite romantic date.
When I was a boy, I took over the shed at the bottom of the garden and displayed fossils and potsherds and coins in it and proudly called it my 'museum'. I charged people to come in, and my most prized possession was a Saracen shield dating from the Crusades.
Going to a museum is one of those inexplicably tiring things. You're not actually doing anything, more shifting your weight from room to room than walking. And yet it is one of the more tiring things one can do, no matter how thrilled you are by the exhibits.
I first saw 'The Dinner Party' in 2007 at the Brooklyn Museum in New York City. While perusing the Heritage Panels, which honor 999 women who have made important contributions to Western history, I came upon the names of two sisters, Sarah and Angelina Grimke.
I was, from early on, interested in science. And my parents were very obliging about that. My father used to take me to the museum of natural history, and I knew much more scientific stuff early on. From the time I was 11 or 12, I wanted to be a mathematician.
If the Bible is correct, and the Earth is only 6,000 years old, that means there were no dinosaurs, and museum curators have been messing with us. Or the dinosaurs were here, and we never noticed them. Or a lot of people saw them but didn't want to say anything.
When I teach classes at the School of Visual Arts,, I'll ask the students, 'How many of you have been to a museum this year?' Nobody raises their hand and I go into a tirade. If you want to do something sharp and innovative, you have to know what went on before.
I mix everything up. A museum curator once said to me that there is a great jazz component to the way I do things because good jazz is improvisation and draws elements from all different cultures. And that's the way I do everything - the way I dress and decorate.
Does art have to have high foot traffic to get funded in a recession? A lot of people, I am sure, would say absolutely not. And those postmodern art-loving loners surely would argue that even if one person likes a piece of art, that would make a museum worthwhile.
Almost the first thing you see after entering the Houdini exhibition at the Jewish Museum is a large-screen film of Harry Houdini hanging by his ankles upside-down from a tall building, high over a sea of men in fedoras, and thrashing his way out of a straitjacket.
To give you an idea about how old I'm getting, we had some family living in Texas for a while, and we went to the Texas museum at the University of Texas in Austin, and they had this whole Texas Instruments section, and my Speak & Spell was an exhibit in the museum.
A tourist will just walk up to a Natchezian on the street and ask, 'Where does Greg Iles live?' And they'll say, 'Oh, right over there; just go knock on the door.' I've had people just walk into my office, walk into my house like it's a museum just open to the public.
Painting is the most magical of mediums. The transcendence is truly amazing to me every time I go to a museum and I see how somebody figured another way to rub colored dirt on a flat surface and make space where there is no space or make you think of a life experience.
When you're working on a film, it's almost like photographing paintings at a museum. You're photographing somebody else's world. I just try and interpret it and make it real, and make it what the actors are about, what the director is about, and what the film is about.
Originally, AXS TV came to me last year and asked me if I'd be interested in doing an acoustic 'Live from the Grammy Museum' performance. But I was bound and determined to do an electric show with this great band to dispel any notion that I wasn't a 'rock guy' in Styx.
The Thames could be thought of as England's longest archaeological site, and no fewer than 90,000 objects recovered from its foreshore are in the collection of the Museum of London, whose 30-year relationship with London mudlarks is both committed and highly regulated.
At our house, my father loved the arts. Among his favorite things was 'The Metropolitan Museum of Art Album of Miniatures' - a box set of small books on different art periods. I'd go into the living room at night and sit on the arm of his chair as he studied the images.
For 'The Journal of Finn Reardon,' I traveled to New York City and walked the streets where Finn and his friends would have lived, worked, and played. I visited the Tenement Museum on Orchard Street and toured an actual flat in which families like Finn's might have lived.