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The cinema was certainly an art, but television can't be, because it is the museum of accidents. In other words, its art is to be the site where all accidents happen. But that's its only art.
I think that you can treat a classic like a museum piece -stuffed and mounted- or you can make it a living, breathing narrative that is unfolding right then and there.
I don't know a single collector or museum director who says: 'Oh, he's on a list, so I think I'll buy something of his.' The people who buy my art put a little more thought into it than that.
In poetically well built museums, formed from the heart's compulsions, we are consoled not by finding in them old objects that we love, but by losing all sense of Time.
I love the international feeling In New Yokk. Different foods. Different people. There's everything here. Museums, theatre, there's so much to do I feel guilty about not doing too many things.
Some of the '80s movies I did are sort of museum pieces. St. Elmo's Fire is great as a sort of kitschy, "Oh, my god, I can't believe we wore that" type of movie.
I love art and I find myself at the MoMA all the time. Museums are a real refuge for me. I go to a museum for any break that I have, and I'm very inspired by art.
The Metropolitan Museum has all of our collections online, all our scholarly publications and catalogues since 1965. We have online features like the timeline of art history.
Go to the source for ideas, go to the Metropolitan Museum, find your inspiration in nature, go to the Museum of Natural History, but never rely on something that someone else has done.
Great Art is Great because it inspired you greatly. If it didn't, no matter what the critics, the museums and the galleries say, it's not great art for you.
I've never been somewhere I belonged, but there are places where I think I could be happy. Like San Francisco. Well, do art museums count? Because I feel like I belong in them.
Museum education has the power and the responsibility to do the challenging inner work of tackling tough topics and turning them into teachable moments.
Tough topics are only tough for those who don't want to approach conversation, who don't like problematizing the status quo and nuancing the narrative.
In bluntest terms, art museums risk being commercial institutions in which art is subsumed by economics and the experience of looking at art becomes a form of consumption.
Extract and expel implicit biases from your work life. Don't taint our visitors with your bias and views. Allow them to form their own conclusions where it's developmentally appropriate.
I absorbed as many Impressionist paintings as I could, in Parisian museums and in many museums in the United States and in books, looking for clues to architecture, clothing, settings.