A Quote by Susan Sontag

The Western memory museum is now mostly a visual one. — © Susan Sontag
The Western memory museum is now mostly a visual one.
We share a huge visual memory bank, mostly through painting and other images in history. I think when a modern photograph taps into those, sometimes very subliminally, it makes people respond.
The eastern part of the Roman Empire spoke mostly Greek, and the western parts spoke mostly Latin. So very soon, you begin getting different emphases between the Eastern church and the Western church.
Develop your visual memory. Draw everything you have drawn from the model from memory as well.
The relocated Powerhouse Museum in Parramatta will be the anchor for arts and culture for the region, and now the site for the museum is locked in.
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.
'Summer of Love: Art of the Psychedelic Era,' the Whitney Museum's 40th-anniversary trip down counterculture memory lane, provides moments of buzzy fun, but it'll leave you only comfortably numb. For starters, it may be the whitest, straightest, most conservative show seen in a New York museum since psychedelia was new.
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.
The primary purpose of the Museum is to help people enjoy, understand, and use the visual arts of our time.
We are our memory, we are that chimerical museum of shifting shapes, that pile of broken mirrors.
I'm a visual thinker. With almost all of my writing, I start with something that's visual: either the way someone says something that is visual or an actual visual description of a scene and color.
I think the history of western feminism is one that is fraught with racism, and I think it's important to acknowledge that and, at the same time, to say that feminism is not the western invention, that my great-grandmother in what is now south-western Nigeria is feminist.
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.
By the visual pattern, but mostly I'm guided entirely by my ear, what I hear.
Mostly what you lose with time, in memory, is the specificity of things, their exact sequence. It all runs together, becomes a watery soup. Portmanteau days, imploded years. Like a bad actor, memory always goes for effect, abjuring motivation, consistency, good sense.
Usually in theater, the visual repeats the verbal. The visual dwindles into decoration. But I think with my eyes. For me, the visual is not an afterthought, not an illustration of the text. If it says the same thing as the words, why look? The visual must be so compelling that a deaf man would sit though the performance fascinated.
Memory is corrupted and ruined by a crowd of memories. If I am going to have a true memory, there are a thousand things that must first be forgotten. Memory is not fully itself when it reaches only into the past. A memory that is not alive to the present does not remember the here and now, does not remember its true identity, is not memory at all. He who remembers nothing but facts and past events, and is never brought back into the present, is a victim of amnesia.
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