Discover the most popular and inspiring quotes and sayings on the topic of Museums. Share them with your friends on social media platforms like Facebook, Twitter, or your personal blogs, and let the world be inspired by their powerful messages. Here are the Top 100 Museums Quotes And Sayings by 90 Authors including Susan Stroman,Alfred H. Barr Jr.,Robert Smithson,Jerry Saltz,Andrew O'hagan for you to enjoy and share.
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 historical museum has to be very conservative and careful in its choices. The modern museum, on the other hand, has to be audacious, to take chances. It has to consider the probability that it would be wrong in a good many cases and take the consequences later.
Museums are tombs, and it looks like everything is turning into a museum.
Works of art often last forever, or nearly so. But exhibitions themselves, especially gallery exhibitions, are like flowers; they bloom and then they die, then exist only as memories, or pressed in magazines and books.
A living museum must surely see itself as a locus of argument. A breathing art institution is not a lockup but a moveable feast.
A country that has few museums is both materially poor and spiritually poor ... Museums, like theaters and libraries, are a means to freedom.
Museums, I think, are becoming more and more aware of how to turn themselves into a must-see spectacle.
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 museums are here to teach the history of art and something more as well, for, if they stimulate in the weak a desire to imitate, they furnish the strong with the means of their emancipation.
I love museums but I don't want to live in one.
Nothing seems more like a whorehouse to me than a museum. In it you find the same equivocal aspect, the same frozen quality.
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.
Going to a museum is one of those inexplicably tiring things. You're not actually doing anything, more shifting your weight from room to room than walking. And yet it is one of the more tiring things one can do, no matter how thrilled you are by the exhibits.
It is as much the conversations between objects as between us and objects that make museums so valuable.
I will help build your museum
When you run out of space to hang your work
You can hang your work in mine
If art means as much to you as it does to me, or even if you're just exploring the art world for the first time, I invite you to turn off the boob tube, pry the Wii controllers from your kids' hands, and drag them to a museum.
The best museum is Bloomingdales.
The distinction between a gallery and a museum is enormous. The gallery is about looking at a thing of beauty; the purpose of the activity is an aesthetic response. The museum is actually about the object that lets you get into somebody else's life.
It could be seen as narcissistic to have your own museum, but for me, it's such a long time ago - I have perspective. That young man in the funny clothes - he's almost a stranger, so I can tell his story.
Museums are just a lot of lies, and the people who make art their business are mostly imposters. We have infected the pictures in museums with all our stupidities, all our mistakes, all our poverty of spirit. We have turned them into petty and ridiculous things.
Outside museums, in noisy public squares, people look at people. Inside museums, we leave that realm and enter what might be called the group-mind, getting quiet to look at art.
When I was young, watching historical movies made me feel absolutely sublime. But the first few times I visited costume museums, I was really disappointed because it was not at the level I saw in movies. It was not the level of the image I'd imagined.
I love museums, and I think they're fantastic, but they don't touch the people who I frequently think need to be touched with at least some reminder of legacy.
Even when I was a little girl, I remember going to the Museum of Modern Art. I think my parents took me there once or twice. And what I really remember is the design collection.
If there was a little room somewhere in the British Museum that contained only about twenty exhibits and good lighting, easy chairs, and a notice imploring you to smoke, I believe I should become a museum man.
Real museums are places where Time is transformed into Space.
I love museums, but I always thought there was something funny about a group of strangers silently staring at works of inanimate objects together. Each person is having a very personal and maybe even emotional experience, but it's in the confines of an extremely quiet and sterile room.
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.
We live in what virtually amounts to a museum - which does not happen to a lot of people.
Shouldn't a great museum foster serious seeing before all else?
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.
I grew up going to museums. I was privileged to discover art and artists in a very personal way.
Since 2000, I've been based in Paris at the Musee d'Art Moderne de la Ville, curating the programme there. Internationally, it's a very open situation that goes beyond national boundaries; directors and curators move from one country to another, which has opened up the museum landscape.
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.
Every museum is full of nice things. That's the opposite of before. It was important things or serious things. Now we have interesting things.
I'd love to open a private museum in Paris, London, or New York, but I don't have the money. If I were Bill Gates or Paul Allen, the first thing I would do is build a museum.
The great museums may harbour the conscience for the natural world, not merely provide its catalogue.
I'd been to the British museum before. In fact I've been in more museums than I like to admit - it makes me sound like a total geek.
[That's Sadie in the background, yelling I am a total geek. Thanks, Sis.]
I want to reach out and entertain people. I want people to come to a museum that have never been in a museum before. I want also to have enough art references in it that would satisfy the most sophisticated museum goer.
Parke-Bernet Galleries.
When you see something special, something inspired, you realise the debt we owe great curators and their unforgettable shows - literally unforgettable because you remember every picture, every wall and every juxtaposition.
People buy such bollocks at museums. They don't know what else to do once they're there.
Despite living in an increasingly digital world, there are a few things I still like to keep as physical reminders. So every time I see an exhibition, I make a pit stop at the museum gift shop to buy a postcard of something that inspired me.
Like surgeons trying to save a life, the conservators and preservers at New York City museums dedicate themselves to ensuring the longevity of works of art for public view.
I love the arts, and enjoy going to the art museum whenever I get a chance.
Exhibitions are kind of ephemeral moments, sometimes magic moments, and when they're gone, they're gone.
Galleries, and they're all the same, and rightly so, they sell work.
Good taste is a virtue of the keepers of museums. If you scorn bad taste, you will have neither painting nor dancing, neither palaces nor gardens.
I like museums in Berlin a lot, especially in the eastern part. They're extraordinarily good.
I went to the museum where they had all the heads and arms from the statues that are in all the other museums.
When you think about it, department stores are kind of like museums.
Art museums are little more than big buildings where rectangular old men, hung on the walls by their backs, wait for young people to come stand in front of them.
A museum's meticulous presentation - exhaustive captions, hushed lighting, state-of-the-art armature - creates an institutional authority that is constructed to seem impregnable.
It's a mystery to me the way that contemporary art galleries function.
The most basic task of any museum must be the protection of works of cultural significance entrusted to its care for the edification and pleasure of future generations.
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.
I'm interested in making works for museums in a way that make the space feel domestic, and I'm always thinking about how this work will be part of someone's daily life.
What is important is not so much what people see in the gallery or the museum, but what people see after looking at these things, how they confront reality again. Really great art regenerates the perception of reality; the reality becomes richer, better or not, just different.
The explosion of museum exhibitions is only a mirror image of what has happened to fashion itself this millennium. With the force of technology, instant images and global participation, fashion has developed from being a passion for a few to a fascination - and an entertainment - for everybody.
I want to bring back the human encounter into places where material things have a prime status. In a museum, you're supposed to look at things and not talk to other people.
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.
Museums collect what's important in their respective countries. In Berlin's National Gallery, however, this isn't the case. They're interested neither in me nor the other usual suspects. It's simply a German reality.
Perhaps one of the most essential exercises in learning to paint is the copying of master works in the museums.
People have experiences in art museums today that they used to have in church.
There is something particularly fascinating about seeing places you know in a piece of art - be that in a film, or a photograph, or a painting.
Art is, nowadays, our new religion and museums are our cathedrals.
People come to museums for storytelling and engagement, and the technology needs to facilitate that.
I'm lucky. Usually you're dead to get your own museum, but I'm still alive to see mine.
Museums don't like things to be thrown away, in case they turn out to be very important later on.
I think everything belongs in a certain place, for kids who feel they don't belong anywhere. A museum is an institution like a library where everything has a place, everything belongs.
Even though the museums guarding their precious property fence everything off, in my own studio, I made them so you and I could walk in and around, and among these sculptures.
In Germany, we often hear the absurd complaint that museums don't have the money to buy paintings. Of course, I'm not talking about me and my paintings. There are, after all, more popular painters in this country.
To visit a museum is fine,
to be a museum piece is terrible!
- Gioconda and Si-Ya-U
I have a passion for modern and contemporary art. I spend a lot of time in museums; I particularly like the Guggenheim, MoMA in New York or LACMA and the Getty Museum in Los Angeles, for example. I cannot wait for the Louis Vuitton Foundation to open.
The reason these paintings are destined for New York is not because I am disappointed about a lack of German interest, but because MoMA asked me, and because I consider it to be the best museum in the world.
Babe, I live in a fuckin' museum. Please, God, inject some personality in it.
whose work also hangs in numerous museums.
I think about that all of the time and I have this fantasy that I am going to work at a museum someday! I would love to do something like that!
If we imagine that the only right that we have is to make commodifiable objects, then we limit our practice, and we limit the great potential for an understanding between collectors, curators and galleries.
Museums and bookstores should feel, I think, like vacant lots - places where the demands on us are our own demands, where the spirit can find exercise in unsupervised play.
By a museum, I assume you mean an institution dedicated to the events of Sept. 11 and the aftermath. If that is done with sensitivity, I think it would be most appropriate.
My father has made a museum with my cuttings and photographs.
I love going to galleries, particularly the National Portrait Gallery.
I am part of a team organising an Emma Hamilton exhibition for the National Maritime Museum for 2016, and the amount of planning is a revelation - borrowing from museums and collections all over the world.
We are similar to a museum. My function is to present old masterpieces in modern frames.
Art should be created for life, not for the museum.
Source of inspiration. The MAK is a museum that has had a profound effect on me as an artist and art viewer.
Having your work in a museum is something we as artists aspire to, but I don't think that's something we need to worry about while we're alive.
Furniture that is too obviously designed is very interesting, but too often belongs only in museums.
i am a museum full of art but you had your eyes shut
There's this shop in New York I go to; it has bones and fossils and insects that are like works of art. I have a few on my wall.
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.
To look at and properly appreciate the British Museum is the work of a lifetime.
Museums have these great collections and the reality is they attract a regional audience not a national audience.
Monuments of historic achievement
Since art is dead in the actual life of civilized nations, it has been relegated to these grotesque morgues, museums.
We don't need more museums that try to construct the historical narratives of a society, community, team, nation, state, tribe, company, or species. We all know that the ordinary, everyday stories of individuals are riches, more humane, and much more joyful.
I collect a lot of art.
The British Museum was founded with a civic purpose: to allow the citizen, through reasoned inquiry and comparison, to resist the certainties that endanger free society and are still among the greatest threats to our liberty.
Te Papa Museum is brilliant.