A Quote by Siri Hustvedt

I saw Joseph Cornell's lyrical work for the first time at the Museum of Modern Art in the late seventies and have internalized many of his boxes. — © Siri Hustvedt
I saw Joseph Cornell's lyrical work for the first time at the Museum of Modern Art in the late seventies and have internalized many of his boxes.
I remember the first time I went to the Los Angeles County Museum of Art and saw a Kerry James Marshall painting with black bodies in it on a museum wall... It strengthened me on a cellular level.
I went to art school... but I worked at the Museum of Modern Art. I worked in fundraising at the information membership desk. I ended up, over a period of time, doubling the amount of membership revenue that came in through people entering the museum, so people would ask me to come and work for them.
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.
My teacher introduced me to this photographer Eugène Atget. He was a French photographer in the late 1800s up until 1927 in Paris. He didn't consider himself an artist, but he was probably one of the artists of the 20th century. This guy documented all of Paris during those years. It's unbelievable. The books are phenomenal. The Museum of Modern Art has all his stuff now and [American photographer] Berenice Abbott saved his work. Not very much is known about his life, but the work is unreal and it totally spoke to me. He was the only artist for a number of years that I cared about at all.
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.
There are artists with palettes and easels selling the kind of modern art that Soviet art critics used to critique with bulldozers. Judging by the paintings I saw, the Soviets were right the first time.
I first got to know Charles in the late seventies when I wrote an article and then a book about him and I think at the time he came across as quite appealing, it was probably the height of his popularity.
It took me twenty years to get Steven Parrino's work. From the time I first saw his art, in the mid-eighties, I almost always dismissed it as mannered, Romantic, formulaic, conceptualist-formalist heavy-metal boy-art abstraction.
I have seen Colonial churches since I was very small, Colonial painting and polychrome sculpture. And that was all I saw. There was not a single modern painting in any museum, not a Picasso, not a Braque, not a Chagall. The museums had Colombian painters from the eighteenth century and, of course, I saw Pre-Columbian art. That was my exposure.
Beijing is constructing a 100,000 m2 modern art museum, yet it will not feature any of my work.
Galleries began growing in both number and size in the late seventies, when artists who worked in lofts wanted to exhibit their work in spaces similar to the ones the art was made in.
The first time I saw Douglas Sirk was in college. I didn't encounter him on the late, late, late show like a lot of people; people a little older than me, maybe. But I saw him already as someone to take special note of in an academic context in college. I was immediately in a state of visual splendor.
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'd live in a museum if I could. I used to spend hours and hours in the Museum of Modern Art.
At the Museum of Roman Art, the logic of the forms is very much modern. But in spite of that, the idea of the construction could be related to a historical time.
I had always loved Joseph Cornell and wanted to do something with dioramas.
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