The gold standard, in one form or another, will prevail long after the present rash of national fiats is forgotten or remembered only in currency museums.
I love visiting the Air and Space Museum. It always blows my mind how far we've come from the Wright Brothers in 1906 to modern space travel.
You're like a witness. You're the one who goes to the museum and looks at the paintings. I mean the paintings are there and you're in the museum too, near and far away at the same time. I'm a painting. Rocamadour is a painting. Etienne is a painting, this room is a painting. You think that you're in the room but you're not. You're looking at the room, you're not in the room.
The world's becoming a museum of socialist failures.
Many museums are drawing audiences with art that is ostensibly more entertaining than stuff that just sits and invites contemplation. Interactivity, gizmos, eating, hanging out, things that make noise - all are now the norm, often edging out much else.
The folks who want to build this mosque, who are really radical Islamists, who want to triumphfully prove they can build a mosque next to a place where 3,000 Americans were killed by radical Islamists. Those folks don't have any interest in reaching out to the community. They're trying to make a case about supremacy. . . This happens all the time in America. Nazis don't have the right to put up a sign next to the Holocaust Museum in Washington. We would never accept the Japanese putting up a site next to Pearl Harbor.
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.
I think movies are now like going to a museum and seeing the latest exhibit - people just aren't going. It really is a dying art form. It feels frustrating.
Fewer and fewer Americans possess objects that have a patina, old furniture, grandparents pots and pans - the used things, warm with generations of human touch, essential to a human landscape. Instead, we have our paper phantoms, transistorized landscapes. A featherweight portable museum.
That's partly the success of my work-the ability to have a young black girl walk into the Brooklyn Museum and see paintings she recognizes not because of their art or historical influence but because of their inflection, in terms of colors, their specificity and presence.
We don't need youth museums. But we do need holy young people.
We are going to set up a branch of the St Petersburg Mariinsky Theatre here [on the Far Easter]. We are also planning to open local branches of the Hermitage Museum and the Vaganova Academy of Russian Ballet.
Zalasiewicz is convinced that even a moderately competent stratigrapher will, at the distance of a hundred million years or so, be able to tell that something extraordinary happened at the moment in time that counts for us as today. This is the case even though a hundred million years from now, all that we consider to be the great works of man—the sculptures and the libraries, the monuments and the museums, the cities and the factories—will be compressed into a layer of sediment not much thicker than a cigarette paper.
We met with the poet Frank O'Hara, who was a link between Upper and Lower Bohemia, and who worked at the Museum of Modern Art, where we had hoped to do the readings.
We have a hieroglyphical inscription in the British Museum as early as the reign of Sevechus of the eighth century before the Christian era, showing that the doctrine of Trinity in Unity already formed part of their religion and that. . . the three gods only made one person.
I can’t stand these damn shows on museum walls with neat little frames, where you look at the images as if they were pieces of art. I want them to be pieces of life!
Art inspires me. Looking at art in a museum, listening to music, reading the works of other writers.
I've heard the sound of 70 condoms being scraped over the floor at the British Museum. It feels like being an adventurer. Why would you stay in your living room if you could go out and experience things no one's ever experienced?
Since then I have held many jobs at museums in Colorado and Wyoming. I have also taught summer courses at the University of Colorado.
When I got the opportunity to do the new wing [the Schauhaus] for the German Historical Museum, for instance, I didn't see it as an opportunity for my own ego, to do something so exciting that every architectural publication would want to put it on the cover. I accepted it because I knew it was going to be a very difficult project, and I wasn't sure I could do something exciting there.