Museums Quotes - Page 22

My dads great. Hes an amazing artist. A sculptor. Hes wonderful and supportive. I love going to museums with him - we talk about... everything.

An artist may visit a museum but only a pedant can live there.

The museums want large crowds coming to the shows - it's the same thing. It's hype. Absolutely. But there's nothing evil about it.

People are going to have a good time, you know. One can go have a good time at these big openings in museums. And people go to have a good time. But the thing has another purpose.In the case of museums, it's always got to do with money, people who donate and things like that. And I believe a certain kind of interest has to be demonstrated.

[Me book is] called Stock Photographs. It was done at the Fort Worth livestock show and rodeo. I was commissioned to shoot there by the Fort Worth Art Museum for a show. I probably shot a total of fourteen days, give or take.

Museum of Modern Art doesn't have anything to do with what I do. Probably has made some differences in my sales, I wouldn't be surprised. Again, you have to ask other people, because I don't have a measuring device.

I do believe that food lobbies exert enormous, at times insidious, power over what we eat, that our water supplies are not being protected as much as they probably should be and that, in general, people are more interested in smart phones than museums.

Paris is a beautiful city to walk around in. And, you know, all the obvious things: I like the museums, I like the theater, I like the dance. And it's manageable. The food's good. I know a lot of interesting people here. I lived in Boston for 50 years or more. Wherever I am, I'm usually holed up most of the time in the editing room, and so, when I leave the editing room, even if I just take a walk, it's gorgeous. And I walk everywhere. I'm a victim of the seduction of Paris.

I love the fact that I can go to a museum now that tells me I'm in the postmodern age.

People don't really go to museums in Rio. I shouldn't say it's not sophisticated, but, you know, they go to the beach.

Some artists leave remarkable things which, a 100 years later, don't work at all. I have left my mark; my work is hung in museums, but maybe one day the Tate Gallery or the other museums will banish me to the cellar... you never know.

We Brits print banknotes out in Debden in Essex, and have contracted it out to the private sector. Here in the U.S. it is a government operation right in the heart of Washington next door to the Holocaust Museum.

I think with my hands. I design things to be touched-not for a museum. A piece is ready when it has the shape of something to cherish.

I think we still do have a PR problem in the sense that these institutions portray themselves quite often as a museum without the contemporary wing. For a young cutting-edge person, why would you get into that sort of business, which is very clearly geared towards dead or almost dead people?

Where do you get your ideas? people ask. Sometimes they’re at the bottoms of cups of tea. Sometimes they’re lurking in my shower. Sometimes they’re waiting patiently in glass cases in museums.

Having your work in a museum is something we as artists aspire to, but I don't think that's something we need to worry about while we're alive.

Typically your work will end up in a museum [after] you're dead. And maybe that's the function of a museum. It's an archive of your work after you're dead.

[On the British Museum:] It was manifestly impossible to read all the books in that huge, gloomy structure, but I made a good try and accumulated a fund of useless information guaranteed to cast a pall over any dinner table.

I like museums in Berlin a lot, especially in the eastern part. They're extraordinarily good.

Zalasiewicz is convinced that even a moderately competent stratigrapher will, at the distance of a hundred million years or so, be able to tell that something extraordinary happened at the moment in time that counts for us as today. This is the case even though a hundred million years from now, all that we consider to be the great works of man—the sculptures and the libraries, the monuments and the museums, the cities and the factories—will be compressed into a layer of sediment not much thicker than a cigarette paper.

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 never stay anywhere — parties , museums, meetings — longer than 3 hours.

Any city in America would like to get a museum built if they didn't have to pay for it.

You know... that a blank wall is an apalling thing to look at... The wall of a museum - a canvas - a piece of film - or a guy sitting in front of a typewriter. Then, you start out to do something - that vague thing called creation. The beginning strikes awe within you.

The Guggenheim Museum Bilbao looks like a great adventure.