Quotes of All Topics . Occasions . Authors
The museum at Ortles is dedicated to the world of ice so we wanted visitors to feel like they were inside a glacier.
I still remember my first Giacometti exhibition, and going back to the museum every day, whenever I could, to look again and again at these long, thin stick figures, so beautiful, so graceful. That, I think, was the moment I became really obsessed by art.
The role of a museum of modern art is to make a good selection and identify what we believe to be the coming movements, and that requires taste.
Cutting out images you like from art books and framing them is a great way of getting beautiful works on your wall. You can also frame magazine images or pick up inexpensive art at museum gift shops.
The 19th century became the age of the museum. Objects were scrambled for, specimens seized, and friezes and antiques grasped.
A sad fact of life lately at the Museum of Modern Art is that when it comes to group shows of contemporary painting from the collection, the bar has been set pretty low.
Many comedic stars have tried to a do a 'Night at the Museum' type film, in which an everyday Joe reacts to insane circumstances. Many flat out failed.
My favorite museums are things like the Frick Museum in New York and the Huntington Hartford in Pasadena where it's someone's home that you walk through.
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.
A collection that embraces the whole world allows you to consider the whole world. That is what an institution such as the British Museum is for.
'The Museum of Innocence' is not about politics; it's a love story, but I think it's political in the sense that it wants to capture how a man suppresses a woman.
I became the European amateur champion in Liverpool back in 2008. I visited the Beatles museum, and after the final, I went to a drum and bass disco.
I remember the first time I went to the Los Angeles County Museum of Art and saw a Kerry James Marshall painting with black bodies in it on a museum wall... It strengthened me on a cellular level.
When you go to an art museum, the thing you're least likely to encounter is a picture of a black person. When it comes to ideas about art and about beauty, the black figure is absent.
It was never my desire to revolutionize fashion, to make clothes that could be in a museum. I want to create clothes that have a certain style, but I want to see them used. I want to see people enjoy the things I've made.
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.
I'm not against the intergenerational function of the museum, I am not against its address or celebration of the individual, but I am against its continuous, unreflected-on celebration of material production.
What I am out to do is make sure that the Met continues to be the most exciting encyclopedic museum in the world. I want to sustain the vibrancy that makes it exciting to work here, that makes it exciting for visitors. The art remains central.
I've been an art collector since the Sixties, and I kept it very separate from my showbusiness career. I've had art shows since the early Nineties, a museum show that travelled to four countries. I've had three or four art books; it's just another way I have to tell stories.
When I decided to go to art school, it wasn't necessarily something I thought I needed. No one talked about graduate school when I was an undergrad. I went on to a residency at the Studio Museum in Harlem, and that transition from Yale to the Studio Museum, that was the real beginning of my professional career.
A walk through the storage facility of the community museum where I worked might easily have convinced you that people in the past wore only wedding dresses, carried silver candlesticks, and played with porcelain dolls.
There was very little art in my childhood. I was raised in South Carolina; I wasn't aware of any art in South Carolina. There was a minor museum in Charleston, which had nothing of interest in it. It showed local artists, paintings of birds.
Brodsky was born in May, 1940, a year before the German invasion. His mother worked as an accountant; his father was a photographer and worked for the Navy Museum in Leningrad when Brodsky was young. They were doting parents and much beloved by Iosif Brodsky, who was their only child.
We have a group of friends of the museum who try to raise, if they can, periodically something to help us. Of course, the main thing about a building like this is its upkeep. It needs central heating and it needs central air conditioning.
There are those photographers who have made a whole career doing commercial work but have never had a museum show, and then there are others who've only had museum shows but couldn't survive for five seconds in the real world of photography. But I've done absolutely everything.
The museum spreads its surfaces everywhere, and becomes an untitled collection of generalizations that mobilize the eye.
The architect aspires to build in a city as the artist aspires to exhibit his works in a museum.
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.
Since 2000, I've been based in Paris at the Musee d'Art Moderne de la Ville, curating the programme there. Internationally, it's a very open situation that goes beyond national boundaries; directors and curators move from one country to another, which has opened up the museum landscape.
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.
Some archives and record offices are housed in your local museum or library; others have their own stand-alone building. Wherever they are, they are a treasure trove.
The Metropolitan Museum of Art is unsurpassed at presenting more than 50 centuries of work. I go there constantly, seeing things over and over, better than I've ever seen them before.
The British Museum was founded with a civic purpose: to allow the citizen, through reasoned inquiry and comparison, to resist the certainties that endanger free society and are still among the greatest threats to our liberty.
'Snow' is my most popular book in the United States. But in Turkey, it was not as popular as 'My Name is Red,' or even 'The Museum of Innocence,' because the secular leaders didn't want this bourgeois Orhan trying to understand these head-scarf girls.
People don't really want to hear me say this, but a black person who will give a million dollars to the Museum of Modern Art but won't give a million to the Studio Museum in Harlem is simply mistaken.
The Frankfurt Museum of Decorative Arts is a handsome building, which takes its cues from the riverside Biedermeier villa next to it, and it is well-integrated into an overall scheme for a group of small museums.
A museum is like a valuing machine. Museums and the industrial society started at the same moment, and they're really tied into each other. They've been all about displaying objects and the kind of wealth that can be derived from objects and promoting that point.
People didn't just wear wedding dresses in the past. They also wore plain cotton shifts beneath them. As pretty as the dresses might be, and as lovely as they might look on display, if a museum doesn't hang the shifts beside them or acknowledge that the shifts existed, that exhibit's incomplete.
They decided to establish a museum of modern art where works by contemporary artists would be shown. Mother was viewed as a very progressive person, and not everybody liked the paintings she bought.
I am part of a team organising an Emma Hamilton exhibition for the National Maritime Museum for 2016, and the amount of planning is a revelation - borrowing from museums and collections all over the world.
Many say an art dealer running a museum is a 'conflict of interest.' But maybe the art world has lived an artificial or unintentional lie all of these years when it comes to conflicts of interest.
It is a standing source of astonishment and amusement to visitors that the British Museum has so few British things in it: that it is a museum about the world as seen from Britain rather than a history focused on these islands.
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.
The modern museum has multiple purposes - to curate and preserve, to research, and to reach out to the public. They challenge us and ask us to question our assumptions about the past or the world around us.
Mission accomplished. The Museum of Modern Art's wide-open, tall-ceilinged, super-reinforced second floor was for all intents and purposes built to accommodate monumental installations and gigantic sculptures, should the need arise. It has arisen.
The distinction between a gallery and a museum is enormous. The gallery is about looking at a thing of beauty; the purpose of the activity is an aesthetic response. The museum is actually about the object that lets you get into somebody else's life.
Some museum boards think that choosing an architect can be reduced to a science, but it comes down to a matter of taste, pure and simple. A shortlist of prospective designers speaks volumes about the likely outcome. If the candidates' styles are too divergent, the search committee doesn't know what it wants.
As I went through 'This Progress,' one of two performance pieces by Tino Sehgal that transform Frank Lloyd Wright's emptied-out spiral into a dreamy Socratic-purgatorial journey, the museum literally fell away. I was suspended in some weird nonspace.
Because of the long, long history of British shipping, immigration, trade, empire, missionaries, you can have a better shot at telling a worldwide story in the British Museum's collection than any other. Britain has been more connected with the rest of the world than any other country, for longer.
Kinkade's paintings are worthless schmaltz, and the lamestream media that love him are wrong. However, I'd love to see a museum mount a small show of Kinkade's work. I would like the art world and the wider world to argue about him in public, out in the open.