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As for pictures and museums, that don't trouble me. The worst of going abroad is that you've always got to look at things of that sort. To have to do it at home would be beyond a joke.
I never think that sticking slavishly to one period is successful, a touch of nostalgia adds charm. One needs light and shade because if every piece is perfect the room becomes a museum and lifeless.
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.
Individually, museums are fine institutions, dedicated to the high values of preservation, education and truth; collectively, their growth in numbers points to the imaginative death of this country.
The reason artists want to have works in museums is that we want our works to be seen by as many people as possible and we want our ideas to be understood in more complicated ways.
The Smithsonian museums are among this country's most endearing treasures and I look forward to helping maintain and enhance their coveted works of art.
Museums do not share their collections with other museums unless they get something in exchange. The Metropolitan will deal with the Louvre, but will they send their stuff to Memphis? No.
The current demoralization of the art world is attributable at least in part to museum interference, ideological and practical, with ongoing creation in art.
Beautiful jewelry, a beautiful room - that's what museums are - a beautiful painting, a beautiful face, it makes you feel good to look at, and that's a beautiful thing.
I don't have a favorite place to see art. I like to encounter it anywhere, museum, gallery, home, studio, street... I do prefer to see good art, when I see art, but it doesn't matter where I see it.
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.
An ideal museum show would be a mating of Brideshead Revisited with House & Garden, provoking intense and pleasurable nostalgia for a past that none of its audience has had.
At the museum a troubled woman destroys a sand painting meticulously created over days by Tibetan monks. The monks are not disturbed. The work is a meditation. They simply begin again.
In college I had to major in something, so I was like, "Okay I like art history, so I will major in that." I never really had any ambitions to work in museums or anything, though.
After all, isn't the purpose of the novel, or of a museum, for that matter, to relate our memories with such sincerity as to transform individual happiness into a happiness all can share?
I saw the various museum displays including scenes of torture while feeling heartfelt remorse and sorrow over the great pain and suffering inflicted on South Koreans by Japan's colonial rule.
It's just disgusting that in this society, the majority of students in art school are women, but they amount to less than 30% of what is shown in museums. That has not changed radically.