A painting in a museum hears more ridiculous opinions than anything else in the world.
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.
I left Kurdistan in April 2003 with the peshmerga, following their excited advance as Saddam’s forces crumbled. First Kirkuk, then Mosul – where looters broke into the city museum and seized its Parthian sculptures – then Tikrit. I reported from Baghdad in month-long stints until the end of 2004.
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 has to renew its collection to be alive, but that does not mean we give on important old works.
When you’re working on a film, it’s almost like photographing paintings at a museum. You’re photographing somebody else’s world. I just try and interpret it and make it real, and make it what the actors are about, what the director is about, and what the film is about.
My parents have always given me whatever I wanted. Took me to the ballet, the opera, museum exhibitions. I was always surrounded by art. It’s their fault I’ve become an actress.
Istanbul in the snow is a wonder. The extravagant pleasures on show in the Topkapi Palace Museum – the sultan’s robes thickly lined with squirrel fur, mobile foot-braziers to keep out a cold that whips relentlessly off the Bosphorus – presage modern-day sultanic delights.
Sometimes Peggy herself would sell tickets to her museum, and if tourists asked her if Mrs. Guggenheim was still alive, she’d assure them she wasn’t.
We are similar to a museum. My function is to present old masterpieces in modern frames.
We have a group of friends of the museum who try to raise, if they can, periodically something to help us. Of course, the main thing about a building like this is its upkeep. It needs central heating and it needs central air conditioning.
Art should be created for life, not for the museum.
I am a museum curator when I am not on the television and in our collection at Kensington Palace we have a book like Marie Antoinette’s, which belonged to the daughters of George III.
I love the Prado in Madrid. The Isabella Stewart Gardner Museum in Boston is also great.
My sixth book, ‘A Breath of Snow and Ashes,’ was nominated for a number of book awards, one of which was The Quill Award, and they had it in New York at the Natural History Museum.
A church is a hospital for sinners, not a museum for saints.
Almost the first thing you see after entering the Houdini exhibition at the Jewish Museum is a large-screen film of Harry Houdini hanging by his ankles upside-down from a tall building, high over a sea of men in fedoras, and thrashing his way out of a straitjacket.
The Frankfurt Museum of Decorative Arts is a handsome building, which takes its cues from the riverside Biedermeier villa next to it, and it is well-integrated into an overall scheme for a group of small museums.
We went to the British Museum, and I was looking up my family in the books – pages and pages on it.
I long ago ran out of bookshelf space and so, like a museum with its art, simply rotate my books from the boxes to the shelves and back again.
I’m lucky. Usually you’re dead to get your own museum, but I’m still alive to see mine.
My brother still lives in the house my parents owned in Fairborn. I go back there a lot to visit friends and keep my connection to the National Museum of the Air Force and my membership with the Dayton Engineers Club.
Late 20th century music was a really important thing. It changed the world, and I’m part of that, and now I’m part of the museum that celebrates that.
I’m not against the intergenerational function of the museum, I am not against its address or celebration of the individual, but I am against its continuous, unreflected-on celebration of material production.
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.
People didn’t just wear wedding dresses in the past. They also wore plain cotton shifts beneath them. As pretty as the dresses might be, and as lovely as they might look on display, if a museum doesn’t hang the shifts beside them or acknowledge that the shifts existed, that exhibit’s incomplete.
I’m hoping that I make readers into museum goers and museum goers into readers.
The Illinois Holocaust Museum & Education Center serves as a poignant reminder of our past and a trusted source of education for schoolchildren, community members, and visitors from across the country.
If an army of monkeys were strumming on typewriters, they might write all the books in the British Museum.
Republicans have called for a National African-American Museum. The plan is being held up by finding a location that isn’t in their neighborhood.
I’d already decided I wanted to design shoes after I saw a sign in the Museum of African and Oceanic Art forbidding high heels. Well, who could resist?
But the customer is the final, final filter. What survives the whole process is what people wear. I’m not interested in making clothes that end up in some dusty museum.
A great department store, easily reached, open at all hours, is more like a good museum of art than any of the museums we have yet established.
When I decided to go to art school, it wasn’t necessarily something I thought I needed. No one talked about graduate school when I was an undergrad. I went on to a residency at the Studio Museum in Harlem, and that transition from Yale to the Studio Museum, that was the real beginning of my professional career.
I love collecting market stuff in Mexico. I have an etagere built onto the wall of my living room, which has cubicles that are lit and filled with super inexpensive pottery. You see them in a new way; they become museum pieces.
I have a debt, a loyalty to the museum; the best place for me to do what I wanted to do.
I’m going to stay on stage until I drop dead. Then I’m going to have myself stuffed, like Trigger, and I’m going to put me in a museum.
When I was a little girl, I grew up in Connecticut. Ed and Lorraine Warren’s home was not too far from mine. ‘The Conjuring’ films are based on them; Ed and Lorraine were real people who made a museum in their home.
Even if you can’t afford to travel the world, you can take your children to the museum, zoo or local park. And don’t be afraid to take them to grown-up spots. Eating out in a restaurant teaches children how to be quiet and polite and gives them the pleasure of knowing you trust them to behave.
I think that it’s appropriate to have the Confederate flag perhaps in a museum, but it is not a unifying symbol.
The V&A is an amazing museum, and the collections have always been a great inspiration to me.
I went to Zanzibar on holiday and there was a lot there about civil rights and there was a museum, where there are old slave chambers. It was horrible to go to and they’ve still got the chains there. It opens your eyes a lot.
You put on this set of goggles, and within seconds, your brain is convinced you’re now in a different, virtual environment. You’re somewhere else, and that somewhere else may be a video game, it may be in a real-time movie, a museum exhibit, or a medical surgical training app.
The ‘Robben Island Bible’ has arrived at the British Museum. It’s a garish thing, its cover plastered with pink and gold Hindu images, designed to hide its contents. Within is the finest collection of words generated by human intelligence: the complete works of William Shakespeare.
One of my major goals is to develop a web of the small Wyoming museums and create a major museum system. There are about eight of these museums, and they are all scattered.
Writing a screenplay’s not rocket science, but I was in a bar, and the bartender came up to me and said, ‘I saw ‘Night at the Museum,’ and the thing about him and his kid brought me and my kid together.’ Something like that… it’s like, ‘Oh, right. That’s why we’re doing it.’
At school, we’d studied the Romans and the Saxons, and I was fascinated by it all. So I made my dad take me to the British Museum as often as possible.
The Creation Museum uses fossils to present evidence that there was a global catastrophe, Noah’s Flood, that killed and preserved the remains of creatures all over the earth.
I had a novel in the back of my mind when I won an Ian St James story competition in 1993. At the award ceremony an agent asked me if I was writing a novel. I showed her four or five chapters of what would become ‘Behind the Scenes at the Museum’ and to my surprise she auctioned them off.
Some archives and record offices are housed in your local museum or library; others have their own stand-alone building. Wherever they are, they are a treasure trove.
Give me a museum and I’ll fill it.
My husband John’s and my breaks are often very culture heavy. He cannot pass a museum without venturing inside, so we tend to see a lot of architecture and so-called places of interest.
