Top 1200 Metropolitan Museum Of Art Quotes & Sayings

A woman's quest in life should be to find the perfect apartment. And I have found the perfect apartment. The perfect apartment is the first floor of the Metropolitan Museum. With a sofa.

I enter a whorehouse with the same interest as I do the British museum or the Metropolitan - in the same spirit of curiosity. Here are the works of man, here is an art of man, here is the eternal pursuit of gold and pleasure. I couldn't be more sincere. This doesn't mean that if I go to La Scala in Milan to hear Carmen I want to get up on the stage and participate. I do not. Neither do I always participate in a fine representative national whorehouse - but I must see it as a spectacle, an offering, a symptom of a nation.

The Metropolitan Museum of Art is unsurpassed at presenting more than 50 centuries of work. I go there constantly, seeing things over and over, better than I've ever seen them before.

Chicago is a wonderful area because it's blessed with a tremendous number of museums of various sorts, not only the Art Institute of Chicago but the Field Museum of Natural History, the Oriental Museum on the south side.

I grew up in New York, and for the first ten years of my life, we lived across from the Metropolitan Museum. When I was an adult, I moved back to that neighborhood and lived there again.

They are works of art that can be considered works of art but don't have to be in the collection of the Metropolitan Museum.

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.

The Metropolitan Museum has all of our collections online, all our scholarly publications and catalogues since 1965. We have online features like the timeline of art history.

I first thought about doing a project about Anna Wintour and 'Vogue' when I read an article in 'New York Magazine' about the Metropolitan Museum Costume Institute Ball, the annual fundraising gala that Anna oversees. It created such a fascinating portrait that I couldn't help but be compelled.

When I was in sixth grade, they slashed the budgets for all of our school art programs, so my grandparents enrolled me in art classes at Worcester Art Museum, which I attended from sixth to 12th grade.

The art that we should be doing today, in the twenty-first century, is art that is not for the museum.

Go to the source for ideas, go to the Metropolitan Museum, find your inspiration in nature, go to the Museum of Natural History, but never rely on something that someone else has done.

You want to know how I think art should be taught to children? Take them to a museum and say, 'This is art, and you can't do it.

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.

What a museum chooses to exhibit is sometimes less important than how such decisions are made and what values inform them. To have the crucial role of museum professionals usurped by self-serving tycoons in the name of economic imperative threatens not only the integrity of individual institutions but the very principle of art held in public trust.

We always have a great time touring Germany, but one of my favourite museums in the world is Museum Ludwig, an incredible contemporary art museum in Cologne. I could spend all day in it.

The current demoralization of the art world is attributable at least in part to museum interference, ideological and practical, with ongoing creation in art.

I gather that a lot of the "pots" in the great museum in Baghdad, which we allowed to be looted and then gutted, are now for sale to the highest bidder on the art and archeology black market. This is good capitalism, I guess, while a museum, being a public trust and accessible to all, is anticapitalist, pretty damn near socialist in fact.

What I never wanted in art - and why I probably didn't belong in art - was that I never wanted viewers. I think the basic condition of art is the viewer: The viewer is here, the art is there. So the viewer is in a position of desire and frustration. There were those Do Not Touch signs in a museum that are saying that the art is more expensive than the people. But I wanted users and a habitat. I don't know if I would have used those words then, but I wanted inhabitants, participants. I wanted an interaction.

The Metropolitan Museum of Art some time ago held a display of contemporary art at which $52,000 was awarded to American sculptors, painters, and artists in allied fields. The award for the best painting went to the canvas of an Illinois artist. It was described as "a macabre, detailed work showing a closed door bearing a funeral wreath." Equally striking was the work's title: "That which I should have done, I did not do."

The cinema was certainly an art, but television can't be, because it is the museum of accidents. In other words, its art is to be the site where all accidents happen. But that's its only art.

Music is art to me, and you don't censor art. You don't go into a museum and censor things.

When I became director of the Metropolitan Museum of Art, it was stodgy, gray, run by elitists. I said, 'Hey, let's kick the thing around.' I wanted to attract young people to the museum. I said, 'Make it hospitable. I want them to come. I want them to make dates, pick up girls, pick up boys - either way; I don't care.'

If I had to choose a single destination where I'd be held captive for the rest of my time in New York, I’d choose the Metropolitan Museum of Art.

At our house, my father loved the arts. Among his favorite things was 'The Metropolitan Museum of Art Album of Miniatures' - a box set of small books on different art periods. I'd go into the living room at night and sit on the arm of his chair as he studied the images.

When I'm in New York, my favorite place on the planet is the Metropolitan Museum of Art.

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.

My education in the arts began at the Cleveland Museum of Art. As a Cleveland child, I visited the museum's halls and corridors, gallery spaces and shows, over and over. For me, the Cleveland Museum was a school of my very own - the place where my eyes opened, my tastes developed, my ideas about beauty and creativity grew.

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.

Many say an art dealer running a museum is a 'conflict of interest.' But maybe the art world has lived an artificial or unintentional lie all of these years when it comes to conflicts of interest.

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.

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.

I don't have a favorite place to see art. I like to encounter it anywhere, museum, gallery, home, studio, street... I do prefer to see good art, when I see art, but it doesn't matter where I see it.

I'd live in a museum if I could. I used to spend hours and hours in the Museum of Modern Art.

I remember the first time I went to the Los Angeles County Museum of Art and saw a Kerry James Marshall painting with black bodies in it on a museum wall... It strengthened me on a cellular level.

Does art have to have high foot traffic to get funded in a recession? A lot of people, I am sure, would say absolutely not. And those postmodern art-loving loners surely would argue that even if one person likes a piece of art, that would make a museum worthwhile.

My philosophy is that I'm an artist. I perform an art not with a paint brush or a camera. I perform with bodily movement. Instead of exhibiting my art in a museum or a book or on canvas, I exhibit my art in front of the multitudes.

What I have learned about museum buildings is that buildings have to have iconic presentations. The position of the art museum vis-a-vis other civic buildings needs to be hierarchal in the community. It has to be equal to the library and the courthouse.

Unless created as freestanding works, quotations resemble "found" art. They are analogous, say, to a piece of driftwood identified as formally interesting enough to be displayed in an art museum or to a weapon moved from an anthropological to an artistic display.... The presenter of found art, whether material or verbal, has become a sort of artist. He has not made the object, but he has made it as art.

When I decided to go to art school, it wasn't necessarily something I thought I needed. No one talked about graduate school when I was an undergrad. I went on to a residency at the Studio Museum in Harlem, and that transition from Yale to the Studio Museum, that was the real beginning of my professional career.

The definition of public art to me means everything and means nothing because for me, all art is public. Art has to be public by definition and in a way It has to be accessible to any audience not just a work in a museum or an art gallery.

I had thrown my body in for art... I had thrown myself into this game for art. You know, I was not a very good artist. But this was, like, one thing I could do. (On being photographed nude playing chess with Marcel Duchamp at Duchamp's 1963 retrospective at the Pasadena Museum of Art.)

I love Inuit art, and most anything you would find in a folk art museum, as well as children's art or children's book illustrators or illustrators in general - all the kinds of work that my paintings would draw comparisons to.

I never can pass by the Metropolitan Museum of Art in New York without thinking of it not as a gallery of living portraits but as a cemetery of tax-deductible wealth.

What I think about when I frequent the Museum of Natural History, the Metropolitan [Museum of Art], and I look at these artifacts that are taken out of context and how we're forced to view them as objects, as relics, as sculpture- static. But what's interesting is what it allows me to do in my head in terms of imagining what the possibilities are or imagining the role in which they played within a particular culture which I'm fascinated by.

But if I had to choose a single destination where I'd be held captive for the rest of my time in New York, I'd choose the Metropolitan Museum of Art.

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!

Today we're dealing with metropolitan Shanghai, metropolitan New Delhi or Paris. If we're competing at that level, our diversity, that richness of people coming from so many different backgrounds, is one of our greatest advantages.

Seattle has a long tradition of celebrating local and non-local art - from the Burke and Seattle Art Museums to the Asian Art Museum.

~I don't always have a lot of energy, but my kids almost always revitalize me. Of course like any working mom, sometimes I'm guilt-ridden. I think I should be sitting down doing an educational computer game with Carrie or taking Ellie to the Metropolitan Museum of Art. These kids are such sponges, and I should be taking advantage of that.~

Fashion went from being much more rarefied to being more accessible. Now everything is changing in the art world, too: even the highest level of institutions are becoming more aware of the general public, like the McQueen exhibit at the Metropolitan or the Tim Burton at the MoMA or how the Gagosian does historic Picasso shows, bringing museum quality into a gallery. Galleries are becoming more like museums, and museums are becoming more accessible. In the next decade, I think it'll be blown open: there will be a lot of shifting around in terms of how artists approach their work.

Art inspires me. Looking at art in a museum, listening to music, reading the works of other writers.

We do have Museums of African American Art in the United States, and there is a National Museum of Women's Art. However, I believe Latinos are best served by displaying their art next to the art of other groups, particularly North American, European, and even Asian artists.

The place has had a super-conflicted relationship to its mission. In 1956, it opened as the Museum of Contemporary Crafts. Then in 1986 it had a midlife crisis and changed its name to the American Craft Museum. Then in 2002 the name changed again, this time to the Museum of Arts and Design. Maybe in 2025 the place will be called the Designatorium. The big problem with a museum of craft and design is that all art has craft and design.

Today, 65 percent of America's population live in metropolitan areas - and 95 percent of all the transit miles traveled are traveled there. Metropolitan regions are the engines of our economy.

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.

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.

'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 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 love art and I find myself at the MoMA all the time. Museums are a real refuge for me. I go to a museum for any break that I have, and I'm very inspired by art.