A Quote by Thomas P. Campbell
Museums provide places of relaxation and inspiration. And most importantly, they are a place of authenticity. We live in a world of reproductions - the objects in museums are real. It's a way to get away from the overload of digital technology.
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When museums are built these days, architects, directors, and trustees seem most concerned about social space: places to have parties, eat dinner, wine-and-dine donors. Sure, these are important these days - museums have to bring in money - but they gobble up space and push the art itself far away from the entrance.
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 are like the quiet car of the world. It's a place you can come to escape, where there's authenticity, there's uniqueness, there's calm, there's physicality.
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.
Exposure to the reproductions [of Corbis-owned fine art photographs] is likely to increase rather than diminish reverence for the real art and encourage more people to get out to museums and galleries.
When I'm on the road, museums end up being a place I go to in different cities that is always interesting. Museums and independent record stores.
New York. It's home to opera, Broadway, museums, the ballet and orchestra - everything that I love. The most real people in the world live there.
You never build the perfect building. Only Allah is perfect. Life is such. You make decisions on conclusions, then some guy invents something else and the world changes. That's comforting. There's no one way to use museums, no one way to do art. That also means there is no one way to build museums.
Real museums are places where Time is transformed into Space.
The great proliferation of museums in the nineteenth century was a product of the marriage of the exhibition as a way of awakening intelligent interest in the visitor with the growth of collections that was associated with empire and middle-class affluence. Attendance at museums was as much associated with moral improvement as with explanation of the human or natural world.
Technology is in fact one of the most exciting things that's happened to museums today - but one has to be careful about where one uses it. For instance, the Internet provides an incredible opportunity. It is a way for us to reach audiences around the world and further our educational mission.
Museums do not share their collections with other museums unless they get something in exchange. The Metropolitan will deal with the Louvre, but will they send their stuff to Memphis? No.
We think that we live in a heterosexual society because most men are fixated on women as sexual objects; but, in fact, we live ina homosexual society because all credible transactions of power, authority, and authenticity take place among men; all transactions based on equity and individuality take place among men. Men are real; therefore, all real relationship is between men; all real communication is between men; all real reciprocity is between men; all real mutuality is between men.
I believe profoundly in the importance of museums; I would go as far as to say that you can judge a society by the quality of its museums.
Small museums are great. Big museums are a drag.
Fashion has been collected and exhibited for many years. People were picking up clothing of famous individuals, like Marie Antoinette's shoe or Napoleon's hat. That part of the resistance to having fashion in museums had to do with it being associated with femininity, and with the female body. Yet, as early as the 18th century, some people were recognizing that just as you collected art, you, might think about collecting fashion for museums, because it would provide insight into the way people thought about their lives and, and the way they envisioned themselves.
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