A Quote by Wade Guyton

I've never seen a postcard of my work in a museum. — © Wade Guyton
I've never seen a postcard of my work in a museum.

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There are those photographers who have made a whole career doing commercial work but have never had a museum show, and then there are others who've only had museum shows but couldn't survive for five seconds in the real world of photography. But I've done absolutely everything.
It is a standing source of astonishment and amusement to visitors that the British Museum has so few British things in it: that it is a museum about the world as seen from Britain rather than a history focused on these islands.
Despite living in an increasingly digital world, there are a few things I still like to keep as physical reminders. So every time I see an exhibition, I make a pit stop at the museum gift shop to buy a postcard of something that inspired me.
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 have seen many men work without praying, though I have never seen any good come out of it; but I have never seen a man pray without working.
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.
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.
What's that Regina Spektor song? Museums are like mausoleums. Having your work in a museum is something we as artists aspire to, but I don't think that's something we need to worry about while we're alive. Typically your work will end up in a museum after you're dead. And maybe that's the function of a museum. It's an archive of your work after you're dead. But while we're alive, I like to see it in places where it's connected to day-to-day life and making a difference.
That's why when I send a postcard I quiz people. "Hey, did you get that postcard?" "Yeah, yeah yeah." "Well what'd I say?" "Uh, you were havin-" "I was in jail"
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.
Typically your work will end up in a museum [after] you're dead. And maybe that's the function of a museum. It's an archive of your work after you're dead.
Why do you have to be out of town to write a postcard? I want a to write a postcard to my neighbor: "I still live near you!" The guy sees me go into my apartment, flips the card over, it's just a picture of me holding a rifle.
I've put live performance in a lot of spaces. Part of what I want to do is take over the takeover. Another way that someone put it is, you climb over the fence and you cut a hole in it, and let everyone else in. That's kind of what this is. The museum is a repository of great works, but there is certain work that no one ever calls great. This is an insistence on directing their attention to other stuff that's great, that never gets to be in a museum.
'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.
Whenever I'm out of town for at least a week, I feel like I should write a postcard or something, but you can be a genius, you try and write a postcard you come across like a moron anyway: 'This city's got big buildings. I like food. Bye.'
I should like to paint like an man who has never seen a painting, but this man -myself - lives in a museum.
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