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.
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.
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.
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.
A country that has few museums is both materially poor and spiritually poor...Museums, like theaters and libraries, are a means to freedom.
One of my major goals is to develop a web of the small Wyoming museums and create a major museum system. There are about eight of these museums, and they are all scattered.
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.
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.
I absorbed as many Impressionist paintings as I could, in Parisian museums and in many museums in the United States and in books, looking for clues to architecture, clothing, settings.
Outside museums, in noisy public squares, people look at people. Inside museums, we leave that realm and enter what might be called the group-mind, getting quiet to look at art.
Museums are just a lot of lies, and the people who make art their business are mostly imposters. We have infected the pictures in museums with all our stupidities, all our mistakes, all our poverty of spirit. We have turned them into petty and ridiculous things.
Some artists leave remarkable things which, a 100 years later, don't work at all. I have left my mark; my work is hung in museums, but maybe one day the Tate Gallery or the other museums will banish me to the cellar... you never know.
The habit of collecting, of attachment to things, is an essential human trait. But Western civilization put collecting on a pedestal by inventing museums. Museums are about representing power. It could be the king's power or, later, people's power.
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.
It was during my first trip to America in 1953 - that's when I learned to visit museums. I was then 26 years old. When I travel, the first thing I do is to visit museums. When I go to New York City, I usually go to Broadway to see the shows.