A Quote by Robert Smithson
Museums are tombs, and it looks like everything is turning into a museum.
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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.
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.
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.
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.
What's that Regina Spektor song? Museums are like mausoleums. Having your work in a museum is something we as artists aspire to, but I don't think that's something we need to worry about while we're alive. Typically your work will end up in a museum after you're dead. And maybe that's the function of a museum. It's an archive of your work after you're dead. But while we're alive, I like to see it in places where it's connected to day-to-day life and making a difference.
Fashion went from being much more rarefied to being more accessible. Now everything is changing in the art world, too: even the highest level of institutions are becoming more aware of the general public, like the McQueen exhibit at the Metropolitan or the Tim Burton at the MoMA or how the Gagosian does historic Picasso shows, bringing museum quality into a gallery. Galleries are becoming more like museums, and museums are becoming more accessible. In the next decade, I think it'll be blown open: there will be a lot of shifting around in terms of how artists approach their work.
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'm very interested in the idea of unusual museums, ones that are not necessarily contemporary art museums - more like historical collections or house museums.
My favorite museums are things like the Frick Museum in New York and the Huntington Hartford in Pasadena where it's someone's home that you walk through.
We have created indoor installations inside museums, like the Wrapped Floor at the Museum of Contemporary Art in Chicago in 1968, and not monumental at all by any standards.
A great department store, easily reached, open at all hours, is more like a good museum of art than any of the museums we have yet established.
Museums that aren't perfect are the ones that I love. Museums that aren't overdesigned. I always like to visit the strange, odd museums. In New York, the Frick is absolutely my favorite, favorite place because I like to think that it was someone's home not that long ago.
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.
I went to the museum where they had all the heads and arms from the statues that are in all the other museums.
We don't notice that our cells are turning over all the time. You get a completely new composition of cells every seven years, and on the surface, or subjectively, it looks as though you're the same for seven years. It's like a ground - it looks stable, but beneath it, everything is shifting all the time. It's exciting and dangerous.
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