A Quote by Mick Foley

I developed an interest in the history of the Negro leagues to the point where I visited the museum in Kansas City, Mo., twice and made the museum an integral part of my unheralded 2005 coming-of-age baseball novel, 'Scooter.'
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.
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 would love to see as many of the black players as possible in today's Major League Baseball make every effort to go to the Negro Leagues Museum and get a first-hand view of how it all started.
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.
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 have no favorite museum, but it could be the National Gallery in London; it could be the Palais de Tokyo in Paris. Every city has a great museum.
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.
The first painting I remember selling was 'Panthera.' I made it while I was in residence at the Studio Museum in Harlem, and the museum actually purchased it directly from me.
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.
It is a standing source of astonishment and amusement to visitors that the British Museum has so few British things in it: that it is a museum about the world as seen from Britain rather than a history focused on these islands.
Wright's building made it socially and culturally acceptable for an architect to design a highly expressive, intensely personal museum. In this sense almost every museum of our time is a child of the Guggenheim.
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.
Go to the source for ideas, go to the Metropolitan Museum, find your inspiration in nature, go to the Museum of Natural History, but never rely on something that someone else has done.
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 Creation Museum isn't really a museum at all. It's an argument. It's not even an argument. It's the ammunition for an argument. It is the Word made into bullets. An armory of righteous revisionism.
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.
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