A Quote by Luis Gonzalez

To have a museum like the Museum of Modern Art in New York is to have power. I don't have any interest in being the director of an institution that has power. — © Luis Gonzalez
To have a museum like the Museum of Modern Art in New York is to have power. I don't have any interest in being the director of an institution that has power.
If I can't be fishing or hunting, I want to be in the Museum of Modern Art in New York.
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.
I'm noticing a new approach to art making in recent museum and gallery shows. It flickered into focus at the New Museum's 'Younger Than Jesus' last year and ran through the Whitney Biennial, and I'm seeing it blossom and bear fruit at 'Greater New York,' MoMA P.S. 1's twice-a-decade extravaganza of emerging local talent.
I can pick out people in this city to follow. I can be in a show at the Museum of Modern Art, my space in the Museum of Modern Art is my mailbox, my mail is delivered there. Whenever I want mail, I have to go through this city to get my mail.
'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.
I'd live in a museum if I could. I used to spend hours and hours in the Museum of Modern Art.
I have a passion for modern and contemporary art. I spend a lot of time in museums; I particularly like the Guggenheim, MoMA in New York or LACMA and the Getty Museum in Los Angeles, for example. I cannot wait for the Louis Vuitton Foundation to open.
I'd love to open a private museum in Paris, London, or New York, but I don't have the money. If I were Bill Gates or Paul Allen, the first thing I would do is build a museum.
It took the Metropolitan Museum of Art nearly 50 years to wake up to Pablo Picasso. It didn't own one of his paintings until 1946, when Gertrude Stein bequeathed that indomitable quasi-Cubistic picture of herself - a portrait of the writer as a sumo Buddha - to the Met, principally because she disliked the Museum of Modern Art.
My views have changed as much as the world, and more precisely, the world of art. You have to remember that all my criticisms of the institution were done directly from the world I was in and my analysis of it. Many things that I said about the omnipotence of the museums, for example, are today almost obsolete. In fact, the museum and the institution drastically lost their power by the pure fact that they disseminated by thousands around the world.
People don't really want to hear me say this, but a black person who will give a million dollars to the Museum of Modern Art but won't give a million to the Studio Museum in Harlem is simply mistaken.
I did make several trips to the very wonderful [Georgia] O'Keeffe museum. Besides the art (my favorite paintings are from her Pelvis series) my favorite thing about the museum is the architecture. I love how enormously tall the doors are - it is like going into a church. There is also something home-like about the layout of the museum. I wish I could live there!
I had the chance to play with a ghost of the museum. The function and the institution are gone - it's closed - but there is still the building. I was looking for something between an experiment and an extended ritual. I asked 15 actors to be in this museum and take the position of the museum's personnel. I put this small group under certain conditions and influences, interpreted by another group of actors or by real professional performers, like a magician, a psychic, a model, a hypnotist, a singer, a psycho-dramaturge.
I went to art school... but I worked at the Museum of Modern Art. I worked in fundraising at the information membership desk. I ended up, over a period of time, doubling the amount of membership revenue that came in through people entering the museum, so people would ask me to come and work for them.
I also got a chance to go to the American Museum in New York, which helped my interest.
When I'm in New York, my favorite place on the planet is the Metropolitan Museum of Art.
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