A Quote by Hans-Ulrich Obrist

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. — © Hans-Ulrich Obrist
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.
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.
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.
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.
A country that has few museums is both materially poor and spiritually poor...Museums, like theaters and libraries, are a means to freedom.
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.
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.
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.
You don't have to go to New York and you don't have to go to LA or London. Go somewhere cheap. Go somewhere with free art museums and then just go to art museums.
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.
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.
Our time and attention is scarce. Art is not that important to us, no matter what we might like to believe... Our love of art is often quite temporary, dependent upon our moods, and our love of art is subservient to our demand for a positive self image. How we look at art should account for those imperfections and work around them. Keep in mind that books, like art museums, are not always geared to the desires of the reader. Maybe we think we are supposed to like tough books, but are we? Who says? Many writers (and art museums) produce for quite a small subsample of the... public.
During the last 35 years, the artists multiplied, the public grew enormously, the economy exploded, and so-called contemporary art became fashionable. All these parameters changed the art world form its previous aspects and fundamentals - the explosion of museums and institutions, explosion of Biennales and Triennials, explosion of money, explosion of interest, explosion of artists, explosion of countries interested in contemporary exhibitions, explosion of the public. Not to see that is to be more than blind.
We have created indoor installations inside museums, like the Wrapped Floor at the Museum of Contemporary Art in Chicago in 1968, and not monumental at all by any standards.
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