A Quote by Susan Vreeland

I'm hoping that I make readers into museum goers and museum goers into readers. — © Susan Vreeland
I'm hoping that I make readers into museum goers and museum goers into readers.
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.
So, you have three possibilities in world missions. You can be a goer, a sender, or disobedient. The Bible does not assume that everyone goes. But it does assume that the ones who do not go care about goers and support goers and pray for goers and hold the rope of the goers.
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.
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.
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!
I want to reach out and entertain people. I want people to come to a museum that have never been in a museum before. I want also to have enough art references in it that would satisfy the most sophisticated museum goer.
I believe in books that do not go to a ready-made public. I'm looking for readers I would like to make. To win them, to create readers rather than to give something that readers are expecting. That would bore me to death.
A reader is entitled to believe what he or she believes is consonant with the facts of the book. It is not unusual that readers take away something that is spiritually at variance from what I myself experienced. That's not to say readers make up the book they want. We all have to agree on the facts. But readers bring their histories and all sets of longings. A book will pluck the strings of those longings differently among different readers.
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.
The place has had a super-conflicted relationship to its mission. In 1956, it opened as the Museum of Contemporary Crafts. Then in 1986 it had a midlife crisis and changed its name to the American Craft Museum. Then in 2002 the name changed again, this time to the Museum of Arts and Design. Maybe in 2025 the place will be called the Designatorium. The big problem with a museum of craft and design is that all art has craft and design.
What would I put in a museum? Probably a museum! That's an amusing relic of our past.
I love the Museum of the Moving Image, and I like the idea of bringing artifacts of the cinema into a museum.
Sometimes I feel like a caretaker of a museum -- a huge, empty museum where no one ever comes, and I'm watching over it for no one but myself.
The British Museum was our first real museum, the property of the public rather than the monarch or the church.
Craft is not a category; it's a means. The folks running the museum [Museum of Arts and Design]are sharp, and they know this, but they are in a bind.
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.
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