A Quote by Jeff Koons
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.
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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.
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.
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.
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.
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.
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.
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.
When I became director of the Metropolitan Museum of Art, it was stodgy, gray, run by elitists. I said, 'Hey, let's kick the thing around.' I wanted to attract young people to the museum. I said, 'Make it hospitable. I want them to come. I want them to make dates, pick up girls, pick up boys - either way; I don't care.'
I visited the Museum of Modern Art and viewed the exhibition of Picasso's sculptures, and I couldn't help but think about what it would be like to have a room full of school children explore Picasso's approach to making art.
Museum of Modern Art doesn't have anything to do with what I do. Probably has made some differences in my sales, I wouldn't be surprised. Again, you have to ask other people, because I don't have a measuring device.
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.
I'd live in a museum if I could. I used to spend hours and hours in the Museum of Modern Art.
I remember the first time I went to the Los Angeles County Museum of Art and saw a Kerry James Marshall painting with black bodies in it on a museum wall... It strengthened me on a cellular level.
What I am trying to say is that it is not without any value. The value of copies is that they can direct us towards the original. I was recently at the Louvre Museum and I was filming people who were viewing the Mona Lisa. I noticed the number of ordinary people, astonished, mouths agape, standing still for long stretches looking at the work, and I wondered, "Where does this come from? Are these people all art connoisseurs?" They are like me; through the years, we've seen this work in our schoolbooks or art history books, but when we stand before the original, we hold our breath.
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.
Does art have to have high foot traffic to get funded in a recession? A lot of people, I am sure, would say absolutely not. And those postmodern art-loving loners surely would argue that even if one person likes a piece of art, that would make a museum worthwhile.
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