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The museum spreads its surfaces everywhere, and becomes an untitled collection of generalizations that mobilize the eye.
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.
Sue Monk Kidd
I went to art school... but I worked at the Museum of Modern Art. I worked in fundraising at the information membership desk. I ended up, over a period of time, doubling the amount of membership revenue that came in through people entering the museum, so people would ask me to come and work for them.
I find it a bit sad that there is no photo of me hanging on the walls in the Berlin Museum at Checkpoint Charlie.
I think the Rock and Roll Hall of Fame, first of all, has got to be put into the context of being an American cultural showcase. It's there to be a museum showcase of all that's great about American music.
Science gave me a cosmic religious feeling, and I would get the same feeling when I was dragged to the Met and the Museum of Modern Art.
We have created indoor installations inside museums, like the Wrapped Floor at the Museum of Contemporary Art in Chicago in 1968, and not monumental at all by any standards.
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.
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.
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.
Until the Eighties, Oslo was a rather boring town, but it's changed a lot, and is now much more cosmopolitan. If I go downtown, I visit the harbour to see the tall ships and the ferries, and to admire the modern architecture such as the Opera House or the new Astrup Fearnley Museum on the water's edge.
But 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.
Eco sees the intellectual as an organizer of culture, someone who can run a magazine or a museum. An administrator, in fact. I think this is a melancholy situation for an intellectual.
A living museum must surely see itself as a locus of argument. A breathing art institution is not a lockup but a moveable feast.
Black people should have recognition for themselves and their backgrounds and their relationships with other people in the world and thus lose some of their alienation. This museum has certainly stood for that in this town.
Now almost every artist outside of New York is connected with some school or some museum school, and even in New York the majority are. That's an interesting fact when you take the idea of making money, making a living selling paintings. Only a dozen or two painters do that.
I do not think that a museum needs to engage with pop culture in order to make itself interesting to museumgoers. Museums are already interesting and engaging with pop culture for its own sake is just a quick way to seem and become dated.
I believe that Ryan Murphy is a genius. His instincts remind me of Andy Warhol. I recently went to the Warhol museum in Pittsburgh, and you can see a lot of echoes of Andy in Ryan's work. Like Andy, Ryan's finger is so on the pulse of culture that he's ahead of culture. Their aesthetic and their vision of the world are very similar.
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.
I care much more about saving the lives of mothers and babies than I do about a fancy museum somewhere.
I've got funny things. David Duchovny had to have a cast made of his face to do an old person's make-up, and I've got that cast of his face in my house. I've got something from the pilot, the original implant that was in Billy Miles' head. I've got a sign from 'The Erlenmeyer Flask.' But my house isn't a museum to 'The X-Files!'
I want to bring back the human encounter into places where material things have a prime status. In a museum, you're supposed to look at things and not talk to other people.
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.
In Paris, it used to feel like you were living in a museum. As beautiful as it was, it's still limited. But here you have just everything.
A. P. J. Abdul Kalam
Leonardo da Vinci
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