A Quote by Agnes Gund

My education in the arts began at the Cleveland Museum of Art. As a Cleveland child, I visited the museum's halls and corridors, gallery spaces and shows, over and over. For me, the Cleveland Museum was a school of my very own - the place where my eyes opened, my tastes developed, my ideas about beauty and creativity grew.
Cleveland has a very bad reputation, but there's a lot of stuff that's left over from when there were very wealthy people - the Art Museum and a world class symphony that's still world class.
The place has had a super-conflicted relationship to its mission. In 1956, it opened as the Museum of Contemporary Crafts. Then in 1986 it had a midlife crisis and changed its name to the American Craft Museum. Then in 2002 the name changed again, this time to the Museum of Arts and Design. Maybe in 2025 the place will be called the Designatorium. The big problem with a museum of craft and design is that all art has craft and design.
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.
The museum in D.C. is really a narrative museum - the nature of a people and how you represent that story. Whereas the Studio Museum is really a contemporary art museum that happens to be about the diaspora and a particular body of contemporary artists ignored by the mainstream. The Studio Museum has championed that and brought into the mainstream. So the museums are like brothers, but different.
It'd be really great to see the Rock and Roll Hall of Fame mature. It's a good facility there in Cleveland. I like the museum a lot.
I developed an interest in the history of the Negro leagues to the point where I visited the museum in Kansas City, Mo., twice and made the museum an integral part of my unheralded 2005 coming-of-age baseball novel, 'Scooter.'
I went to art school... but I worked at the Museum of Modern Art. I worked in fundraising at the information membership desk. I ended up, over a period of time, doubling the amount of membership revenue that came in through people entering the museum, so people would ask me to come and work for them.
I grew up in Cleveland, so my heart got attached at a young age to the freight train of sadness that is Cleveland sports.
My city is not only losing jobs. We're losing people, and it's frightening. During my recent art curation at the City Club, I spent most of that time urging Cleveland residents and city officials to adopt a plan to merge East Cleveland with Cleveland so we can maintain our population, because doing nothing is no longer an option.
I'm noticing a new approach to art making in recent museum and gallery shows. It flickered into focus at the New Museum's 'Younger Than Jesus' last year and ran through the Whitney Biennial, and I'm seeing it blossom and bear fruit at 'Greater New York,' MoMA P.S. 1's twice-a-decade extravaganza of emerging local talent.
There's a beauty shop companion called School of Beauty, School of Culture at the Birmingham Museum of Art. I got an email that said a couple had a guerrilla wedding in front of that picture. They slipped into the museum with a preacher and had their wedding ceremony in front of it. It turns out that the woman is a beautician and the man is a barber, they had seen that picture, and they said it was the perfect place to get married.
I did make several trips to the very wonderful [Georgia] O'Keeffe museum. Besides the art (my favorite paintings are from her Pelvis series) my favorite thing about the museum is the architecture. I love how enormously tall the doors are - it is like going into a church. There is also something home-like about the layout of the museum. I wish I could live there!
When I first started painting, I had an interesting nightmare about Cleveland - I dreamed the houses there were encased in this free-floating cage structure. I guess Cleveland was a confining place for me, even though my parents weren't too conservative.
This is not a museum of tragedy. It is not the museum of difficult moments. It is the museum that says -here is a balanced history of America that allows us to cry and smile.
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.
Sometimes I feel like a caretaker of a museum -- a huge, empty museum where no one ever comes, and I'm watching over it for no one but myself.
This site uses cookies to ensure you get the best experience. More info...
Got it!