A Quote by Elvis Mitchell

I love the Museum of the Moving Image, and I like the idea of bringing artifacts of the cinema into a museum. — © Elvis Mitchell
I love the Museum of the Moving Image, and I like the idea of bringing artifacts of the cinema into a museum.
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.
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.
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!
I would like to bring people who have never been to a museum into a museum. And I would like to bring museum goers into libraries. I think there ought to be this cross-fertilization.
What I think about when I frequent the Museum of Natural History, the Metropolitan [Museum of Art], and I look at these artifacts that are taken out of context and how we're forced to view them as objects, as relics, as sculpture- static. But what's interesting is what it allows me to do in my head in terms of imagining what the possibilities are or imagining the role in which they played within a particular culture which I'm fascinated by.
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.
Then I got this idea in my head that magazines were like a gallery and if you got your magazine page ripped out and someone stuck it on their refrigerator, then that was a museum – someone’s private museum.
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.
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.
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.
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.
I personally have never trusted museums. ... It is because museums, broadly speaking, live off of the art and artifacts of others, often art and artifacts that have been obtained by dubious means. But they also manipulate whatever it is they present to the public; hence, until Judy Chicago, in the 1970s ... few women artists were hung in any major museum. Indian artists? Artifacts only, please. Black artists? Something musical, maybe? And so forth.
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.
What would I put in a museum? Probably a museum! That's an amusing relic of our past.
I had the chance to play with a ghost of the museum. The function and the institution are gone - it's closed - but there is still the building. I was looking for something between an experiment and an extended ritual. I asked 15 actors to be in this museum and take the position of the museum's personnel. I put this small group under certain conditions and influences, interpreted by another group of actors or by real professional performers, like a magician, a psychic, a model, a hypnotist, a singer, a psycho-dramaturge.
[Cameras] tend to turn people into things and the photograph extends and multiplies the human image to the proportions of mass-produced merchandise and, [in the age of photography] the world itself becomes a sort of museum of objects that have been encountered before in some other museum and to say that the camera cannot lie is merely to underline the multiple deceits that are now practiced in its name.
This site uses cookies to ensure you get the best experience. More info...
Got it!