The fact that the work is affirmed by the Museum of Contemporary Art I think sends continued signals that this is worth paying attention to, looking at, and understanding.
Paris, hours in the café, a certain spirit of rebellion, one side a bit too stubborn, the sea, the true, in Bretagne, the walking in Provence, the taste, the passion for literature, the libraries, the beautiful editions, remaking the world in a set of hours around a table and a bottle of wine. Talking without really saying nothing, just for the pleasure of talking. The museums, the theatres, the elegance, the delicacy, the heritage of the Illustration, a humanistic philosophy. The balance we got between a nordic rigor and a latin savoir-vivre, the insolence and the freedom.
For many, the icon of the British Museum is the Rosetta Stone, that administrative by-product of the Greek imperial adventure in Africa.
There's quite obviously the desire to open the rule sets that allow for inclusion or disclusion. I think that my hope would be that my work set up certain type of precedent, that allowed for great institutions, museums and viewers to see the possibilities of painting culture to be a bit more inclusive.
We are still struggling with people who don't feel comfortable going into museums. As a visual artist I ask how artists can be part of enacting a change.
I wonder if we are seeing a return to the object in the science-based museum. Since any visitor can go to a film like Jurassic Park and see dinosaurs reawakened more graphically than any museum could emulate, maybe a museum should be the place to have an encounter with the bony truth. Maybe some children have overdosed on simulations on their computers at home and just want to see something solid--a fact of life.
I love the fact that I can go to a museum now that tells me I'm in the postmodern age.
That which, perhaps, hears more nonsense than anything in the world, is a picture in a museum.
Since art is dead in the actual life of civilized nations, it has been relegated to these grotesque morgues, museums.
I grew up a Red Sox fan. I grew up going to Fenway Park and the Museum of Fine Arts and the Science Museum and Symphony Hall and going to the Common, walking around. My whole family at different times lived and worked in Boston.
I wish I could write about shows outside New York. I often feel like the last person to know anything, because I almost never get to leave town, and when I do, I tend to go for three days max. Seeing between 30 and 40 shows a week in 100 or so galleries and museums takes up nearly all my time.
Glass is the most magical of all materials. It transmits light in a special way. . . Im pleased that my art appeals to so many people of all ages. As a parent and an artist, Im especially looking forward to leaving a legacy at The Childrens Museum, a place where I hope my work brings joy to children who visit from all over the world.
Pele should go back to the museum.
Before people outside of the Western European tradition started asking to be in there, the people who were accumulating objects for the museum were perfectly satisfied with the narrative they were constructing.
In Italian museums are sometimes found little painted screens that the priest used to hold in front of the face of condemned men to hide the scaffold from them.
[Me book is] called Stock Photographs. It was done at the Fort Worth livestock show and rodeo. I was commissioned to shoot there by the Fort Worth Art Museum for a show. I probably shot a total of fourteen days, give or take.
If you had a large vase with a big crack down the middle of it, a Japanese art museum would put the vase on a pedestal and shine a spotlight on the crack!
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.
The parts of graffiti I like are really antagonizing still - it's not something that a museum would really embrace.
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.