A Quote by Martin Filler
The Frankfurt Museum of Decorative Arts is a handsome building, which takes its cues from the riverside Biedermeier villa next to it, and it is well-integrated into an overall scheme for a group of small museums.
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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.
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.
One of my major goals is to develop a web of the small Wyoming museums and create a major museum system. There are about eight of these museums, and they are all scattered.
As hard as I try I cannot get myself to three museums in any one city. The only museum I've ever really enjoyed was the Picasso Museum in Barcelona and I think that's because it's small and you can touch things.
Wall-to-wall masterpieces, after all, ought to be preferred to wall-to-wall decorative arts, even if the decorative arts are of the highest quality peppered and salted with dukes and tiaras.
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.
It takes years of building that experience as a filmmaker, as well as physically. You have to have a high level understanding of martial arts.
Well, I grew up in Hell's Kitchen, right next to Times Square, in a subsidized arts building.
I first drew the attention of my future husband when we were fourteen, on the freshman school bus for an epic field trip from Riverside, Calif. to Los Angeles, where we were taken to the L.A. Zoo as well as the Natural History Museum.
We always have a great time touring Germany, but one of my favourite museums in the world is Museum Ludwig, an incredible contemporary art museum in Cologne. I could spend all day in it.
I don't control it at all. It's all up to the musicians in the group. They control it. They make all the cues, and they tell me what they want, and then I act like a mirroring device so that everyone can see what the cues are.
The arts are the only things that separate us from the other animals. The arts are not decorative. ... They are essential to our comprehension of consciousness and ourselves.
Museums, museums, object-lessons rigged out to illustrate the unsound theories of archaeologists, crazy attempts to co-ordinate and get into a fixed order that which has no fixed order and will not be co-coordinated! It is sickening! Why must all experience be systematized? A museum is not a first-hand contact: it is an illustrated lecture. And what one wants is the actual vital touch.
There is a finite group of major financial players... and overall, the best thing for all of us is to be in an industry that's well respected, well regarded, and well thought of.
We would go down to Riverside, California, which is very poor now, but that's where my grandfather grew up. He grew up during the Depression in Riverside.
Chicago is a wonderful area because it's blessed with a tremendous number of museums of various sorts, not only the Art Institute of Chicago but the Field Museum of Natural History, the Oriental Museum on the south side.
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