A Quote by Lewis H. Lapham
I never can pass by the Metropolitan Museum of Art in New York without thinking of it not as a gallery of living portraits but as a cemetery of tax-deductible wealth.
Related Quotes
When I'm in New York, my favorite place on the planet is the Metropolitan Museum of Art.
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.
One of the crucial underpinnings of New York as a culture capital is that there are multiple markets. There is not just one art gallery district, there are several art gallery districts. I feel that there should be art galleries and art studios in every neighborhood without exception. They should be integrated into the social and physical fabric of the streets. If we want a lively city, we can't just have high towers and dense constructions, we have to have living organisms of streets and neighborhoods. And the arts are a crucial part of that.
If I had to choose a single destination where I'd be held captive for the rest of my time in New York, I’d choose the Metropolitan Museum of Art.
But if I had to choose a single destination where I'd be held captive for the rest of my time in New York, I'd choose the Metropolitan Museum of Art.
There was a kind of cultural life in New York that wasn't as solidified as it is now, it wasn't as money-driven. If you look at the size of the successful art galleries compared to the size of galleries now - there was no such thing as the Gagosian Gallery or Pace Gallery. But it was a time when magazines were a vital part of American life, and Esquire gave me a free pass to every world - I could get to the art world, the theater world, the movie world. It allowed you to roam through the cultural life of New York City.
Public art is a unique type of art. It's very different to gallery art because it is something that we pass by every day and it inevitably creates a lot of discussion in a way that gallery art does not.
Tax deductible, That's what you are: Tax deductible. Just like my car, like a gift to local charity, you give my 1040 clarity
I grew up in New York, and for the first ten years of my life, we lived across from the Metropolitan Museum. When I was an adult, I moved back to that neighborhood and lived there again.
At our house, my father loved the arts. Among his favorite things was 'The Metropolitan Museum of Art Album of Miniatures' - a box set of small books on different art periods. I'd go into the living room at night and sit on the arm of his chair as he studied the images.
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.
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.
Studying art history is actually one of the few ways of getting a good job in the arts sector. It's hard to be a museum curator without it, work in any senior position in an auction house or gallery, or become a serious art critic.
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.
'Summer of Love: Art of the Psychedelic Era,' the Whitney Museum's 40th-anniversary trip down counterculture memory lane, provides moments of buzzy fun, but it'll leave you only comfortably numb. For starters, it may be the whitest, straightest, most conservative show seen in a New York museum since psychedelia was new.
I look at the idea of eliminating the state and local tax deduction as a geographic redistribution of wealth, because you're taking money from a place like New York to provide deeper tax cuts elsewhere.
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