I believe that when you go into a gallery or a museum, the most powerful pieces are the ones that don't have the words in the corner that distract you from the larger piece.
You have to love dancing to stick to it. It gives you nothing back, no manuscripts to store away, no paintings to show on walls and maybe hang in museums, no poems to be printed and sold, nothing but that fleeting moment when you feel alive. It is not for unsteady souls .
I gather that a lot of the "pots" in the great museum in Baghdad, which we allowed to be looted and then gutted, are now for sale to the highest bidder on the art and archeology black market. This is good capitalism, I guess, while a museum, being a public trust and accessible to all, is anticapitalist, pretty damn near socialist in fact.
I personally have never trusted museums. ... It is because museums, broadly speaking, live off of the art and artifacts of others, often art and artifacts that have been obtained by dubious means. But they also manipulate whatever it is they present to the public; hence, until Judy Chicago, in the 1970s ... few women artists were hung in any major museum. Indian artists? Artifacts only, please. Black artists? Something musical, maybe? And so forth.
The camera is an eye that sees and records the lives of filthy people. Its pictures are hung in museums and published in thick books that future generations can see how horrible life was.
Nobody ever flunked a science museum
Walking rapidly - or even slowly - through a gallery is equivalent to browsing through a bookstore and reading the blurbs.
Inside the museum infinity goes up on trial. Voices echo, 'This is what salvation must be like after a while.' But Mona Lisa must have had the highway blues; you can tell by the way she smiles.
You should definitely visit the Louvre, a world-famous art museum where you can view, at close range, the backs of thousands of other tourists trying to see the Mona Lisa.
Most convicted felons are just people who were not taken to museums or Broadway musicals as children.
In my experience, Cupid's arrows rarely strike two people with the same definition of cleanliness. One partner usually feels like he or she is being asked to live in a furniture exhibit in the British Museum. The other partner remains convinced that he or she is forced to contend with the human version of Hurricane Gilbert.
A lot of the stuff I've done is inspired by the location. Usually my works are pretty site-specific. There are a lot of shows that are older works, but often when I do new work for a show, it tends to talk to the space or the idea of the museum.
Over the years, she [my mother] always encouraged me in the arts. She actually worked at an art museum when we were kids. I took classes there. She was the one that, when we'd go to the store and I would have a pack of eight pastels, she'd say, "No, get the 24-pack." She was always encouraging me to get the best materials, which was really awesome.
My teacher introduced me to this photographer Eugène Atget. He was a French photographer in the late 1800s up until 1927 in Paris. He didn't consider himself an artist, but he was probably one of the artists of the 20th century. This guy documented all of Paris during those years. It's unbelievable. The books are phenomenal. The Museum of Modern Art has all his stuff now and [American photographer] Berenice Abbott saved his work. Not very much is known about his life, but the work is unreal and it totally spoke to me. He was the only artist for a number of years that I cared about at all.
Let the people walk. Or ride horses, bicycles, mules, wild pigs-anything-but keep the automobiles and the motorcycles and all their motorized relatives out. We have agreed not to drive our automobiles into cathedrals, concert halls, art museums, legislative assemblies, private bedrooms and other sanctums of our culture; we should treat our national parks with the same deference, for they, too, are holy places.
Sometimes somebody has an amazing house party and you meet great people and you dance - I've had incredible experiences. But they have been so much fewer than the awful experiences where you're just standing around like, "Why did I come here? We're all just putting on a show for each other and I might as well be in a museum."
I'm spending a lot of time in the Palazzo and in the museums. I'm printing [pictures that I take] and making a binder with a mix of internet research and palazzo research that I'm planning to use for the upcoming works.
A product is not a product unless it sells. Otherwise it is merely a museum piece.
Seeing your work go into storage in an art museum is obviously a tragedy of any cultural product - which doesn't mean I am anti-institutional.
The best museum is Bloomingdales.
You must get into the habit of looking intensely at words, and assuring yourself of their meaning, syllable by syllable-nay, letter by letter... you might read all the books in the British Museum (if you could live long enough) and remain an utterly "illiterate," undeducated person; but if you read ten pages of a good book, letter by letter, - that is to say, with real accuracy- you are for evermore in some measure an educated person.
Read properly, fewer books than a hundred would suffice for a liberal education. Read superficially, the British Museum Library might still leave the student a barbarian.
Church is not a museum for Saints, but rather a hospital for sinners.
Source of inspiration. The MAK is a museum that has had a profound effect on me as an artist and art viewer.
I'm interested in making works for museums in a way that make the space feel domestic, and I'm always thinking about how this work will be part of someone's daily life.
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