I developed an interest in the history of the Negro leagues to the point where I visited the museum in Kansas City, Mo., twice and made the museum an integral part of my unheralded 2005 coming-of-age baseball novel, 'Scooter.'
The Web meant that I didn't have to schlep a whole bunch of stuff to a museum and fight with all their constraints and make something that, in the end, only 150 people would actually get out to see. Instead, I could put something together in my lab and make it accessible to the world.
A museum is like a valuing machine. Museums and the industrial society started at the same moment, and they're really tied into each other. They've been all about displaying objects and the kind of wealth that can be derived from objects and promoting that point.
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.
I suppose illustration tends to live in the streets, rather than in the hermetically sealed atmosphere of the museum, and consequently it has come to be taken less seriously.
Because of the long, long history of British shipping, immigration, trade, empire, missionaries, you can have a better shot at telling a worldwide story in the British Museum's collection than any other. Britain has been more connected with the rest of the world than any other country, for longer.
There are hundreds of Frank Lloyd Wright buildings around the United States and in other countries, too. Wright lived into his 90s, and one of his most famous buildings, the Guggenheim Museum in New York, was completed just before his death. Wright buildings look like Wright buildings - that is their paradox.
I maintain that if you're a novelist and you go into an art museum, you'll come out a better novelist. And if you paint a picture for an hour you're a better actor at the end of it.
The British Museum was our first real museum, the property of the public rather than the monarch or the church.
I come from a real working class background, and I didn't know anyone sophisticated - except I saw Edie Sedgewick once at the Art Museum in Philly. She had these black leotards and little black pumps and this big ermine cape and all these white dogs and black sunglasses and black eyes. She was classy!
A lot of our insights are based on the ways in which people spend time at museums. They're curious, open, interested, and engaging. They want to express themselves and see their own identity refracted through the museum's.
The Elgin Marbles were supposed to be on the Parthenon. For many works of art, a museum is an artificial setting - a zoo, not a natural habitat.
A baby! I hated babies. I, who for two and a half years had been the center of a tender universe, felt the axis wrench and a polar chill immobilize my bones. I would be a bystander, a museum mammoth.
Te Papa Museum is brilliant.
Reality TV to me is the museum of social decay.
The V&A is an amazing museum, and the collections have always been a great inspiration to me.
The fact is that the British Museum had a complete specimen of a dodo in their collection up until the 18th century - it was actually mummified, skin and all - but in a fit of space-saving zeal, they actually cut off the head and they cut off the feet and they burned the rest in a bonfire.
I might want to open a hotel and design all the rooms. Or maybe a museum that lets me curate all the events.
A living museum must surely see itself as a locus of argument. A breathing art institution is not a lockup but a moveable feast.
If art means as much to you as it does to me, or even if you're just exploring the art world for the first time, I invite you to turn off the boob tube, pry the Wii controllers from your kids' hands, and drag them to a museum.
The Whitney is a museum that has a great rapport with younger artists and the community.
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.
I'm noticing a new approach to art making in recent museum and gallery shows. It flickered into focus at the New Museum's 'Younger Than Jesus' last year and ran through the Whitney Biennial, and I'm seeing it blossom and bear fruit at 'Greater New York,' MoMA P.S. 1's twice-a-decade extravaganza of emerging local talent.
We got our land at the right time, but when we go for additional land for our schools or the museum, there will be extra cost.
The Documents Project has actively collected documentation on both island-based Puerto Rican art as well as Nuyorican art in the United States through partnerships and researchers ceded at the University of Puerto Rico's museum in San Juan and Hunter College's Center for Puerto Rican Studies in New York City, respectively.
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.
I spend all day in museums. I even eat my lunch in the museum, and I take a nap for one hour there.
The most basic task of any museum must be the protection of works of cultural significance entrusted to its care for the edification and pleasure of future generations.
What I am out to do is make sure that the Met continues to be the most exciting encyclopedic museum in the world. I want to sustain the vibrancy that makes it exciting to work here, that makes it exciting for visitors. The art remains central.
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.
I first thought about doing a project about Anna Wintour and 'Vogue' when I read an article in 'New York Magazine' about the Metropolitan Museum Costume Institute Ball, the annual fundraising gala that Anna oversees. It created such a fascinating portrait that I couldn't help but be compelled.
For 'The Journal of Finn Reardon,' I traveled to New York City and walked the streets where Finn and his friends would have lived, worked, and played. I visited the Tenement Museum on Orchard Street and toured an actual flat in which families like Finn's might have lived.
I have seen Colonial churches since I was very small, Colonial painting and polychrome sculpture. And that was all I saw. There was not a single modern painting in any museum, not a Picasso, not a Braque, not a Chagall. The museums had Colombian painters from the eighteenth century and, of course, I saw Pre-Columbian art. That was my exposure.
You may not see massive UFO exhibits at your local science museum, but there's no dearth of saucer stories infesting my email. Every day, I receive several reports of alien sightings, extraterrestrial plans for Earth, and agitated screeds about the reluctance of scientists to take the whole subject seriously.
My education in the arts began at the Cleveland Museum of Art. As a Cleveland child, I visited the museum's halls and corridors, gallery spaces and shows, over and over. For me, the Cleveland Museum was a school of my very own - the place where my eyes opened, my tastes developed, my ideas about beauty and creativity grew.
I have a passion for modern and contemporary art. I spend a lot of time in museums; I particularly like the Guggenheim, MoMA in New York or LACMA and the Getty Museum in Los Angeles, for example. I cannot wait for the Louis Vuitton Foundation to open.