Quotes About Museums

You know...that a blank wall is an apalling thing to look at. The wall of a museum -- a canvas -- a piece of film -- or a guy sitting in front of a typewriter. Then, you start out to do something -- that vague thing called creation. The beginning strikes awe within you.

I do not think that a museum needs to engage with pop culture in order to make itself interesting to museumgoers. Museums are already interesting and engaging with pop culture for its own sake is just a quick way to seem and become dated.

In museums and palaces we are alternate radicals and conservatives.

I have a pretty big range of interests. I love art; I love going to the museums. I dabble in painting, and although I'm not very good at it, I enjoy it.

I think about museums often. There are things that I want museums to do that they often don't. For me, I like it when there's a system within the museum that can continuously change - whether it's a museum that is nomadic or one that's designed so the building can shape-shift. I like restless spaces, and I want to be engaged.

Dinosaurs are the jumper cables to the human mind. Kids can't curb their enthusiasm when they're in a hall of dinosaurs and mammoths and mammoth hunters and trilobites and giant fish that could chomp up a shark. These natural objects in motion and context make kids want to read; you can't stop them from reading and thinking.

A CD. How quaint. We have these in museums.

The best museums and museum exhibits about science or technology give you the feeling that, hey, this is interesting, but maybe I could do something here, too.

History is representational, while time is abstract; both of these artifices may be found in museums, where they span everybody's own vacancy

Summer is a great time to visit art museums, which offer the refreshing rinse of swimming pools - only instead of cool water, you immerse yourself in art.

I used to wonder: Do only ignorant laypeople gaze on the colossal bust of Ramses II at the British Museum and ask themselves how it ended up there? Is it only the unschooled visitor who looks at the soaring column from the Temple of Artemis at the Met and questions why it exists in this place?

As cultural politics change, museums change with them.

Everyone knows that it's noble to go to museums unaccompanied. Look at us solitary exhibition gawkers: We pause to read the captions, we wander the rooms at a thoughtful speed, we think things, and therefore we're allowed to drink early and often.

14th- and 15th-century drawings are almost unheard-of - and as a result, they generate jealous desire among dealers and curators. Museums in particular value rarity and pedigree more than attractiveness.

Slechts één ding is blijvend, een nooit eindigende schoonheid, die van de ene vorm overgaat in de andere, vluchtig doorgebladerd, voortdurend wisselend, maar die je zeker niet voor altijd kunt vasthouden, in musea neerzetten en in noten vastleggen kunt, om dan jong en oud erbij te roepen, zodat ze erover kunnen zwetsen en druk doen.

People expect things from art that are horrible for us who make it! They put the things we make in these restrictive places called 'museums,' then don't want to hear another word from us.

When the purse strings tighten up at museums, the institutions usually cut back and cancel shows. That's exactly the wrong reaction. In fact, now is a good time for them to loosen up - a chance to breathe and experiment a little - and go for the juicy solution lurking in their own basements.

Instead of stubbornly attempting to use surrealism for purposes of subversion, it is necessary to try to make of surrealism something as solid, complete and classic as the works of museums.

he could not imagine an American who was not a collector of sights, who did not work at travel as though it were a tournament with the honors to the person who could last out the largest number of museums. He was as convinced that all Americans mark down credits for themselves in their Baedekers as are Americans that all Germans drink beer every evening.

Sentences will be consigned to museums if the emptiness in writing persists.

Museums and galleries do recruit art historians, but they are overwhelmingly white and middle class, or else from abroad. They understandably fret about the lack of diversity in their curating departments, but is it any wonder?

In the years that I worked in museums, first as a summer student and eventually as a curator, one of the primary lessons I learned was this: History is shaped by the people who seek to preserve it. We, of the present, decide what to keep, what to put on display, what to put into storage, and what to discard.

You become an expert by working hard. We've got fantastic museums, collections and antique shows. You can go and just start looking. That's the great thing about knowledge. If you collect Doulton figures, you know about the rare ones.

I love ruins and museums but, if I've been working hard, I enjoy a beach holiday.