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.
I wonder if a single thought that has helped forward the human spirit has ever been conceived or written down in an enormous room: except, perhaps, in the reading room of the British Museum.
Scientific data are not taken for museum purposes; they are taken as a basis for doing something. If nothing is to be done with the data, then there is no use in collecting any. The ultimate purpose of taking data is to provide a basis for action or a recommendation for action. The step intermediate between the collection of data and the action is prediction.
I had a novel in the back of my mind when I won an Ian St James story competition in 1993. At the award ceremony an agent asked me if I was writing a novel. I showed her four or five chapters of what would become 'Behind the Scenes at the Museum' and to my surprise she auctioned them off.
Mitt Romney announced he will fight former heavyweight champion Evander Holyfield in a charity boxing match. You can tell that Romney is serious about it. Today, his butler gave him a piggyback ride up the steps of the Philadelphia art museum.
Nobody would say the cowshed was heaven and nobody would say the inhuman torture of so many victims be called a revolution of the proletariat. ... A museum should be established to remind China of the follies and disasters that had fallen from 1966 to 1976. We cannot forget what had happened and history should not repeat itself.
There are self-made millionaires - their aspiration is first to make money. But the once that goal is achieved, they have to look for something and sometimes they become patrons of art or museums. And that is how the world should go.
I take the museum space also as sacred in a sense.
I built a cannon out of ice, and wrapped myself in the funeral carpet which my husbands and wives had woven for me out of their own hair, and one of my wives was my gunner. I came back here, after many adventures, and once, when I'd been drinking, donated the funeral carpet to the national museum. When I was sober again, I asked for it back, but they claimed not to know what I was talking about.
My position on how to address the Confederate flag is clear. In Florida, we acted, moving the flag from the state grounds to a museum, where it belonged.
I would go there quite frequently. I met and became close with John Szarkowski of the Museum of Modern Art. He was incredibly supportive about me working in color.
I always feel like there are specific things about Houston. There's one museum in particular in Houston. So many of the things that I'm interested in now I can sort of trace back to that museum, which introduced me to them.
I like to go to art museums and name the untitled paintings... Boy With Pail... Kitten On Fire.
What you see at the Field Museum is only like, 10 percent of the collection. It's birds of paradise and passenger pigeons and in all these drawers that pull out, these specimens come out and it's spectacular. And it worked out.
In New York, I'm playing in a church, solo, doing instrumental stuff. There's talk of doing more, like, installation-type things with some of the specimen horns I've played through. Just filling a room in a museum with these horn-speaker sculptures and then making loops that run all day, and you walk around the room and sort of mix the sound by where you stand. That's all way in the future, but that kind of stuff is a different way of thinking about performing.
I enjoy living life and I enjoy going to different restaurants and eating my way through a country and going to different museums and learning about different cultures.
I started thinking what could happen with my art and I realized that the biggest thing that could is that it winds up in a museum. It's like finding a rare animal and putting it in the zoo.
Some people have criticized the United States and the United States military for guarding oil fields and not guarding the Iraqi National Museum which had priceless antiquities in it. They say that this shows a fundamental lack of respect for Iraqi history. I want to remind those people of this: The oldest relics in the museum, 5,000 or 6,000 years old. That oil is 65 million years old. You had to guard that. ... Those antiquities will only last another 5,000 or 6,000 years. When we burn that oil, those fumes will linger long after.
I tell young people that the greatest paintings in museums are made with minerals mixed in oil smeared on cloth with the hair from the back of a pig's ear. It's that simple.
No matter that I have inhibitions enough to fill all my pockets; I keep trying , hoping that one day I'll write a poem I can be proud to let sit in a museum exhibit as the only proof I existed.
Art is the closest you can get to immortality, though it's a poor substitute - you're working for people not yet born - and people want it because it is brilliant. It ends up in museums anyway; the rich have to give it back to the people, it's their only option. There are no pockets in a shroud.
The grand style is available now only in old poems, museums, and parodies.
The art that we should be doing today, in the twenty-first century, is art that is not for the museum.
We are our memory, we are that chimerical museum of shifting shapes, that pile of broken mirrors.
PREHISTORIC, adj. Belonging to an early period and a museum. Antedating the art and practice of perpetuating falsehood.
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