A Quote by David Rockefeller

The role of a museum of modern art is to make a good selection and identify what we believe to be the coming movements, and that requires taste. — © David Rockefeller
The role of a museum of modern art is to make a good selection and identify what we believe to be the coming movements, and that requires taste.
I can pick out people in this city to follow. I can be in a show at the Museum of Modern Art, my space in the Museum of Modern Art is my mailbox, my mail is delivered there. Whenever I want mail, I have to go through this city to get my mail.
A good taste in art feels the presence or the absence of merit; a just taste discriminates the degree--the poco piu and the poco meno. A good taste rejects faults; a just taste selects excellences. A good taste is often unconscious; a just taste is always conscious. A good taste may be lowered or spoilt; a just taste can only go on refining more and more.
To have a museum like the Museum of Modern Art in New York is to have power. I don't have any interest in being the director of an institution that has power.
If your choice enters into it, then taste is involved - bad taste, good taste, uninteresting taste. Taste is the enemy of art, A-R-T.
It took the Metropolitan Museum of Art nearly 50 years to wake up to Pablo Picasso. It didn't own one of his paintings until 1946, when Gertrude Stein bequeathed that indomitable quasi-Cubistic picture of herself - a portrait of the writer as a sumo Buddha - to the Met, principally because she disliked the Museum of Modern Art.
I'd live in a museum if I could. I used to spend hours and hours in the Museum of Modern Art.
When things get tough, this is what you should do: Make good art. I'm serious. Husband runs off with a politician -- make good art. Leg crushed and then eaten by a mutated boa constrictor -- make good art. IRS on your trail -- make good art. Cat exploded -- make good art. Someone on the Internet thinks what you're doing is stupid or evil or it's all been done before -- make good art.
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.
Model building is the art of selecting those aspects of a process that are relevant to the question being asked. As with any art, this selection is guided by taste, elegance, and metaphor; it is a matter of induction, rather than deduction. High science depends on this art.
You can't say you're going to ban something in the name of good taste, because then you have directed someone to play the role of good-taste police. We - Americans - permit bad taste in this country. In fact, we even encourage it.
People don't really want to hear me say this, but a black person who will give a million dollars to the Museum of Modern Art but won't give a million to the Studio Museum in Harlem is simply mistaken.
Make it new is the message not just of modern art but of modern consumerism, of which modern art is largely a mirror image.
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.
If I can't be fishing or hunting, I want to be in the Museum of Modern Art in New York.
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.
I have some art, but I am a hobbyist. I would not consider myself an expert but in the course of writing this novel I became very familiar with the various movements in American Modern Art from 1900 onwards.
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