A Quote by Tadao Ando
I take the museum space also as sacred in a sense.
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The moment you introduce difference into a museum, then the privileged space is contested, and under the most ideal circumstances what all artists want is the chance to be competitive. That's what I think the museum is supposed to be.
At first you might find that nothing happens there. But if you have a sacred space and use it, eventually something will happen. Your sacred space is where you find yourself again and again.
The historical museum has to be very conservative and careful in its choices. The modern museum, on the other hand, has to be audacious, to take chances. It has to consider the probability that it would be wrong in a good many cases and take the consequences later.
The Experience of Sacred Space makes possible the founding of the world: where the sacred Manifests itself in space, the real unveils itself, the world comes into existence.
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.
The bandstand is an incredible space. It is really a sacred space. One of the things that is really sacred about it is that you have no opportunity to think about the future, or the past.
The first gesture of an architect is to draw a perimeter; in other words, to separate the microclimate from the macro space outside. This in itself is a sacred act. Architecture in itself conveys this idea of limiting space. It's a limit between the finite and the infinite. From this point of view, all architecture is sacred.
Before what is sacred, people lose all sense of power and all confidence; they occupy a powerless and humble attitude toward it. And yet no thing is sacred of itself, but by my declaring it sacred, by my declaration, my judgment, my bending the knee; in short, by my conscience.
Before the sacred, people lost all sense of power and all confidence; they occupy a powerless and humble attitude toward it. And yet no thing is sacred of itself, but by declaring it sacred, by my declaration, my judgment, my bending the knee; in short, by my - conscience.
Before the sacred, people lose all sense of power and all confidence; they occupy a powerless and humble attitude toward it. And yet no thing is sacred of itself, but by my declaring it sacred, by my declaration, my judgment, my bending the knee; in short, by my - conscience.
Wright's building made it socially and culturally acceptable for an architect to design a highly expressive, intensely personal museum. In this sense almost every museum of our time is a child of the Guggenheim.
Sacred space and sacred time and something joyous to do is all we need. Almost anything then becomes a continuous and increasing joy. What you have to do, you do with play. I think a good way to conceive of sacred space is as a playground. If what you're doing seems like play, you are in it. But you can't play with my toys, you have to have your own. Your life should have yielded some. Older people play with life experiences and realizations or with thoughts they like to entertain. In my case, I have books I like to read that don't lead anywhere.
For me, boxing was a way of me exercising my frustration, anger, sense of injustice, but also a way of owning my space and taking up space. Which I think as a woman in the art world is essential for surviving. You have to become comfortable going like, 'OK, I'm going to take this wall, this wall is mine, I'm going to put my work on this wall.'
I love visiting the Air and Space Museum. It always blows my mind how far we've come from the Wright Brothers in 1906 to modern space travel.
It was about finding the sacred within myself, my center, my peaceful core. We each have a sacred space within us, a part of us. This sacred space is a temple, a temple to our inner power, our intuition, and our connection with the divine. Discovery of psychic powers, spells, and meditation are all things that lead us to the temple. They help us find the road within and walk our path to the inner temple.
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.
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