I don't plan out my visits rigorously, but I do have a list of about 125 New York galleries, alternative spaces, museums, and so forth that I visit regularly. That's the closest thing I have to a strategy: I go to a lot of places, many that artists don't visit.
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.
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.
A saboteur in the house of art and a comedienne in the house of art theory, Lawler has spent three decades documenting the secret life of art. Functioning as a kind of one-woman CSI unit, she has photographed pictures and objects in collectors' homes, in galleries, on the walls of auction houses, and off the walls, in museum storage.
The Met is not only the finest encyclopedic museum of art in the United States; it is arguably the finest anywhere.
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.
New York being what it is, our museums are vertical, not horizontal. That means the stumbling blocks to architectural clarity are unavoidable - but certainly surmountable.
Of course art world ethics are important. But museums are no purer than any other institution or business. Academics aren't necessarily more high-minded than gallerists.
No academy could have given me all I discovered by getting my teeth into the exhibitions, the shop windows, and the museums of Paris . Beginning with the market - where, for lack of money, I bought only a piece of a long cucumber - the workman in his blue overall, the most ardent followers of Cubism , everything showed a definite feeling for proportion, clarity, an accurate sense of form, of a more painterly kind of painting, even in the canvases of second-rate artists.
I've enjoyed photography, ever since I was a teenager, and I'm still at it. I've had shows in various cities, around the country, and I have a number of pieces in permanent collections in museums that I'm very proud of.
Keep in mind that books, like art museums, are not always geared to the desires of the reader.
People today read less, take fewer museum trips, and attend fewer concerts. Is that because these activities aren't as fun? The decline... can be traced, at least in part, to unconscious stimuli that make us live faster.
In some ways painters have been more important in my life than writers. Painters teach you how to see—a faculty that usually isn’t highly developed in poets. Whether you take a walk in the woods with a painter, or go to a museum with one, through them you notice shapes, colors, harmonies, relationships that enhance your own seeing.
While about one-third of Americans believe in ghosts, you won't find many exhibits on these spooky beings down at the local science museum. Why? Well, one explanation that you might consider, ghosts are just figments of our highly fertile imaginations!
I do not approve of museums trying just to get people to come in. Whistler was very, very clear on this.
When museums are built these days, architects, directors, and trustees seem most concerned about social space: places to have parties, eat dinner, wine-and-dine donors. Sure, these are important these days - museums have to bring in money - but they gobble up space and push the art itself far away from the entrance.
Great Art is Great because it inspired you greatly. If it didn't, no matter what the critics, the museums and the galleries say, it's not great art for you.
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.
I didn't understand art, until one day Tom Brady took me to the museum, and we looked at the Picasso, and he said, 'Rob, that's a touchdown.' We looked at the Rembrandt and Tom said, 'Rob, that's another touchdown.' We looked at the Vermeer and Tom said, 'Rob, that's another touchdown.' And I said, 'No, Tom, that's just a field goal.'
It is a question in that case of breaking up one piece of art, and whether that piece of art can be as best as possible put back together. So it's an argument to say, maybe that's one of those instances, like the bust of Nefertiti, I think that should be given back [Egyptian piece currently in Neues Museum in Berlin]. It's one of those pieces you look at and think that would probably be the right thing to do.
[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.
Blessed is he who invented recording! But what a pity that he was not born centuries earlier! Think only of all that we would be able to hear and therefore understand better. Oh, the unending research in libraries and museums, the readings and collations of texts, the maddening desire to know the truth!
the theater should be free to the people just as the Public Library is free, just as the museum is free. ... I want the theater to be made accessible to the people.
it is in the oral traditions of the villages that the arts of India are really alive. The brief Western immortality of museums is pointless to people who have seen eternity in their earth.
A Children’s Museum, however, is more of a Funatorium. You are encouraged to touch things, which is poor training for subsequent museum visitation.
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