A Quote by Jens Lekman
I don't want music to be a museum.
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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.
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.
The moment you introduce difference into a museum, then the privileged space is contested, and under the most ideal circumstances what all artists want is the chance to be competitive. That's what I think the museum is supposed to be.
I think about museums often. There are things that I want museums to do that they often don't. For me, I like it when there's a system within the museum that can continuously change - whether it's a museum that is nomadic or one that's designed so the building can shape-shift. I like restless spaces, and I want to be engaged.
I wonder if we are seeing a return to the object in the science-based museum. Since any visitor can go to a film like Jurassic Park and see dinosaurs reawakened more graphically than any museum could emulate, maybe a museum should be the place to have an encounter with the bony truth. Maybe some children have overdosed on simulations on their computers at home and just want to see something solid--a fact of life.
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.
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 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.
Really it becomes a question of architecture. How do you move people through a space and allow them to have an experience? I, probably more than most people, suffer from museum fatigue. I always want to just stay still or sit in a chair and look at one thing, but that's not the experience of the museum.
I have crazy, different influences in my songs. I want rap music, I want Congolese rumba, I want salsa, I want dance music, I want hip-hop music, all mixed into one!
Obviously, something like ballet, you have music, you dance with the music and it's a very direct connection. With visual art, when there's no music that accompanies the art, such as great masterworks in a museum, you wind up interpreting what the artist is doing, how the artist made that work and what they're conveying.
I like rap music. But bragging about being rich to poor people is really offensive. I want to hear a rap song about buying a Cy Twombly painting or dating a museum curator. I want to hear about that kind of rich.
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 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.
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