A Quote by Peter Jackson
I think that you can treat a classic like a museum piece -stuffed and mounted- or you can make it a living, breathing narrative that is unfolding right then and there.
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It is a question in that case of breaking up one piece of art, and whether that piece of art can be as best as possible put back together. So it's an argument to say, maybe that's one of those instances, like the bust of Nefertiti, I think that should be given back [Egyptian piece currently in Neues Museum in Berlin]. It's one of those pieces you look at and think that would probably be the right thing to do.
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.
Breathing in, breathing out, ain't that what it's all about. Living life crazy loud, like I have the right to.
It was rumored she held grudges till they died of old age, then had them stuffed and mounted.
Another thing about creation is that every day it is like it gave birth, and it's always kind of an innocent and refreshing. So it's always virginal to me, and it's always a surprise. ... Each piece seems to have a life of its own. Every little piece or every big piece that I make becomes a very living thing to me, very living. I could make a million pieces; the next piece gives me a whole new thing. It is a new center. Life is total at that particular time. And that's why it's right. That reaffirms my life.
I'm going to stay on stage until I drop dead. Then I'm going to have myself stuffed, like Trigger, and I'm going to put me in a museum.
There are no happier people on this planet than those who decide that they want something, define what they want, get hold of the feeling of it even before its manifestation and then joyously watch the unfolding as, piece by piece by piece, it begins to unfold. That's the feeling of your hands in the clay.
I just think it's good to have a big, living, breathing piece of music that's not just songs.
A living museum must surely see itself as a locus of argument. A breathing art institution is not a lockup but a moveable feast.
To be a Christian in a generously orthodox way is not to claim to have the truth captured, stuffed, and mounted on the wall
I treat politics kind of like my religion. It's something I believe in, but I don't want to have to make a living at it, because if you make a living at it, you somehow become dishonest.
I treat politics kind of like my religion. It’s something I believe in, but I don’t want to have to make a living at it, because if you make a living at it, you somehow become dishonest.
Classic burlesque in the style of Gypsy which many modern burlesque troupes practice is, at its core, so playful and teasing and innocent. It's not hardcore stripping so much as letting your body tell a story; the women are playing characters and unfolding a complete narrative onstage, with beginning, middle, and end.
If you ask me, the place that a story happens is as equal character. It's almost like an ecological viewpoint: These people are living in this piece of land, and in this piece of land in this time this is possible. For me, I almost think location first. It's time first - what year is it - then where are we, and then who is in it.
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.
I see the audience as the final collaborator. I think it's kind of bullshit when people say, "I'm not interested in the audience reaction." I'm like, "Then why do you do theater? You can write a book, then you don't have to see how the audience reacts." It's a living, breathing thing.
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