A Quote by Nick Cave

What I think about when I frequent the Museum of Natural History, the Metropolitan [Museum of Art], and I look at these artifacts that are taken out of context and how we're forced to view them as objects, as relics, as sculpture- static. But what's interesting is what it allows me to do in my head in terms of imagining what the possibilities are or imagining the role in which they played within a particular culture which I'm fascinated by.
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.
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 always feel like there are specific things about Houston. There's one museum in particular in Houston. So many of the things that I'm interested in now I can sort of trace back to that museum, which introduced me to them.
Our main inspiration [with Alix MacKenzie], I think, came from the Field Museum of Natural History, because they had pieces which were selected not for art content but for their relationship to the anthropological history of mankind.
There is no longer a Christian mind ... the modern Christian has succumbed to secularization. He accepts religion - its morality, its worship, its spiritual culture; but he rejects the religious view of life, the view which sets all earthly issues within the context of the eternal, the view which relates all human problems social, political, cultural to the doctrinal foundations of the Christian Faith, the view which sees all things here below in terms of God's supremacy and earth's transitoriness, in terms of Heaven and Hell.
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.
I love the Museum of the Moving Image, and I like the idea of bringing artifacts of the cinema into a museum.
The museum is full of interesting things. All kinds of paintings are there. And then paintings too thick to put in a frame, that they call sculpture. And then there are spectators. with their scorecards, rooting for culture. And spectators of the spectators, looking for love's introduction. And art students taking notes. And old women trying to remember the past. And old men with too much to forget. And tourists, thinking that a museum represents a city. And loafers so poor, they study their soberness here.
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.
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.
What a museum chooses to exhibit is sometimes less important than how such decisions are made and what values inform them. To have the crucial role of museum professionals usurped by self-serving tycoons in the name of economic imperative threatens not only the integrity of individual institutions but the very principle of art held in public trust.
The interesting thing with child actors is that kids are natural actors. They're wonderful actors, and most kids are acting all the time. They're imagining they're out in the yard playing. They're imagining that things happened, and they can get very vivid.
I did make several trips to the very wonderful [Georgia] O'Keeffe museum. Besides the art (my favorite paintings are from her Pelvis series) my favorite thing about the museum is the architecture. I love how enormously tall the doors are - it is like going into a church. There is also something home-like about the layout of the museum. I wish I could live there!
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.'
It's funny, I'm very analytical in my real life, but in terms of my films, I try to not analyze them at all and let things just go into them and let them be what they are. I mean, people ask me to this day what 'The Squid and the Whale' stood for, and I have no idea except that it's an exhibit in the Natural History Museum.
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.
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