Top 1200 Museum Of Natural History Quotes & Sayings - Page 2

The distinction between a gallery and a museum is enormous. The gallery is about looking at a thing of beauty; the purpose of the activity is an aesthetic response. The museum is actually about the object that lets you get into somebody else's life.

One dictionary that I consulted remarks that "natural history" now commonly means the study of animals and plants "in a popular and superficial way," meaning popular and superficial to be equally damning adjectives. This is related to the current tendency in the biological sciences to label every subdivision of science with a name derived from the Greek. "Ecology" is erudite and profound; while "natural history" is popular and superficial. Though, as far as I can see, both labels apply to just about the same package of goods.

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.

She looks like a fairy tale, but yet feels so natural (natural, natural, natural) This one's a beast, but way to wonderful to be compared to an animal

Except for the people who were there that one day they discovered the polio vaccine, being part of history is rarely a good idea. History is one war after another with a bunch of murders and natural disasters in between.

My heart goes out to victims and survivors of the Hurricane Katrina tragedy and to their families. This disaster will go down in history books as one of the largest natural disasters in U.S. history.

I always feel like there are specific things about Houston. There's one museum in particular in Houston. So many of the things that I'm interested in now I can sort of trace back to that museum, which introduced me to them.

Wright's building made it socially and culturally acceptable for an architect to design a highly expressive, intensely personal museum. In this sense almost every museum of our time is a child of the Guggenheim.

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.

I've always tried to write California history as American history. The paradox is that New England history is by definition national history, Mid-Atlantic history is national history. We're still suffering from that.

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 have no favorite museum, but it could be the National Gallery in London; it could be the Palais de Tokyo in Paris. Every city has a great museum.

I was in a group show at a museum in Torino, a lot of American artists installed in a floor of this museum. Another floor of the museum houses the most refined collection of arte povera in the world, which is perfectly selected and perfectly installed. I remember being struck by the contrast between the Italian works and the American. I would say the hallmarks of the Italian style are a poetical connection to nature and to materiality, materials, and exquisite taste. On contrast, the American work was essentially a bunch of bad-tempered, complaining kids.

Really it becomes a question of architecture. How do you move people through a space and allow them to have an experience? I, probably more than most people, suffer from museum fatigue. I always want to just stay still or sit in a chair and look at one thing, but that's not the experience of the museum.

The constancies and equivalences adumbrated work havoc with such settled topical blocks as myth and philosophy, natural reason and revelation, philosophy and religion, or the Orient with its cyclical time and Christianity with its linear history. And what is modem about the modem mind, one may ask, if Hegel, Comte, or Marx, in order to create an image of history that will support their ideological imperialism, still use the same techniques for distorting the reality of history as their Sumerian predecessors?

My childhood hero was David Attenborough. He opened my eyes to the wonder of the natural world. In fact, he's still my hero. I interviewed him at the Science Museum in 2015, and he is such a thoughtful, humble and inspiring person.

Darwin's book is very important and serves me as a basis in natural science for the class struggle in history. One has to put up with the crude English method of development, of course. Despite all deficiencies not only is the death-blow dealt here for the first time to 'teleology' in the natural sciences, but their rational meaning is empirically explained.

Then I got this idea in my head that magazines were like a gallery and if you got your magazine page ripped out and someone stuck it on their refrigerator, then that was a museum – someone’s private museum.

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.

I wonder if we are seeing a return to the object in the science-based museum. Since any visitor can go to a film like Jurassic Park and see dinosaurs reawakened more graphically than any museum could emulate, maybe a museum should be the place to have an encounter with the bony truth. Maybe some children have overdosed on simulations on their computers at home and just want to see something solid--a fact of life.

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.

For me I'm natural not because somebody else believes I'm natural, I'm natural because I don't use steroids, I don't use growth hormone, I don't use any of those enhancers. I'm natural in my own right because I don't do that and not because other people accept the fact that I'm natural or not.

Prose is in fact the museum where the dead images of verse are preserved. In 'Notes', prose is 'a museum where all the old weapons of poetry kept.

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.

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 even know what my natural colour is. Natural? What is natural? What is that? I do not believe in totally natural for women. For me, natural has something to do with vegetables.

A writer represents his family history. My grandfather was a senator and my father served in the Roosevelt administration. In other words, I grew up in politics. This is why it seemed perfectly natural to take part in the battles of my time, and to participate in the writing of the history of my country.

As hard as I try I cannot get myself to three museums in any one city. The only museum I've ever really enjoyed was the Picasso Museum in Barcelona and I think that's because it's small and you can touch things.

If there was a little room somewhere in the British Museum that contained only about twenty exhibits and good lighting, easy chairs, and a notice imploring you to smoke, I believe I should become a museum man.

I grew up a Red Sox fan. I grew up going to Fenway Park and the Museum of Fine Arts and the Science Museum and Symphony Hall and going to the Common, walking around. My whole family at different times lived and worked in Boston.

All over the planet, nature is being transformed into 'un-nature' at breakneck speed...My life is part of natural history. I long to know where that history came from and where it is going.

You cannot just quote from history and above all you cannot take it out of context, in however humorous a fashion . On the contrary history has a natural continuity which must be respected

Writing of history is our only heuristic principle. The Germans have a word for it, einfühlen. It is the ability to experience the past in the present and to recreate it. In my books, I have tried to recreate it in the most natural way possible: History must be integrated into the story without the weight of premonition.

The historical museum has to be very conservative and careful in its choices. The modern museum, on the other hand, has to be audacious, to take chances. It has to consider the probability that it would be wrong in a good many cases and take the consequences later.

The Creation Museum isn't really a museum at all. It's an argument. It's not even an argument. It's the ammunition for an argument. It is the Word made into bullets. An armory of righteous revisionism.

Won't it be wonderful when black history and native American history and Jewish history and all of U.S. history is taught from one book. Just U.S. history.

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.

... in going over the history of all the inventions for which history could be obtained it became more and more clear that in addition to training and in addition to extensive knowledge, a natural quality of mind was also necessary.

Some people have criticized the United States and the United States military for guarding oil fields and not guarding the Iraqi National Museum which had priceless antiquities in it. They say that this shows a fundamental lack of respect for Iraqi history. I want to remind those people of this: The oldest relics in the museum, 5,000 or 6,000 years old. That oil is 65 million years old. You had to guard that. ... Those antiquities will only last another 5,000 or 6,000 years. When we burn that oil, those fumes will linger long after.

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.

Natural history is not about producing fables.

I first saw 'The Dinner Party' in 2007 at the Brooklyn Museum in New York City. While perusing the Heritage Panels, which honor 999 women who have made important contributions to Western history, I came upon the names of two sisters, Sarah and Angelina Grimke.

There is no counting the unsolved problems of Natural History.

To a person uninstructed in natural history, his country or sea-side stroll is a walk through a gallery filled with wonderful works of art, nine-tenths of which have their faces turned to the wall. Teach him something of natural history, and you place in his hands a catalogue of those which are worth turning around. Surely our innocent pleasures are not so abundant in this life, that we can afford to despise this or any other source of them.

You read about me in history books, but now I am dedicated to spreading the truth about preserving the dignity of all human life from natural conception to natural death.

When I train, I love to take time off and fly to the Natural History Museum or an exhibition. I just love that. When you know your past, it will help you with your future… That’s why most of my friends are not fighters. Most of my friends are nerds like me. That’s why I have a hard time finding a girlfriend. I need someone to talk science with. I’m married to my work right now. But you never know. One day I could wake up and just do something different. Life is so unpredictable.

All other forms of history - economic history, social history, psychological history, above all sociology - seem to me history with the history left out.

Our supplies of natural resources are not finite in any economic sense. Nor does past experience give reason to expect natural resources to become more scarce. Rather, if history is any guide, natural resources will progressively become less costly, hence less scarce, and will constitute a smaller proportion of our expenses in future years.

Studying art history is actually one of the few ways of getting a good job in the arts sector. It's hard to be a museum curator without it, work in any senior position in an auction house or gallery, or become a serious art critic.

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

To give you an idea about how old I'm getting, we had some family living in Texas for a while, and we went to the Texas museum at the University of Texas in Austin, and they had this whole Texas Instruments section, and my Speak & Spell was an exhibit in the museum.

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.

There is no such thing as a natural boxer. A natural dancer has to practice hard. A natural painter has to paint all the time. Even a natural fool has to work at it.

We console ourselves with the comfortable fallacy that a single museum piece will do, ignoring the clear dictum of history that a species must be saved in many places if it is to be saved at all.

On the theory of natural selection we can clearly understand the full meaning of that old canon in natural history, “Natura non facit saltum.” This canon, if we look only to the present inhabitants of the world, is not strictly correct, but if we include all those of past times, it must by my theory be strictly true.

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.

My favourite museum is the British Museum.

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.

Once we begin to speak of men mixing their labour with the earth, we are in a whole world of new relations between man and nature, and to separate natural history from social history becomes extremely problematic.

If there be a mind that, not perceiving in the narratives we have compared the fingermarks of tradition, and hence the legendary character of these evangelical anecdotes, still leans to the historical interpretation, whether natural or supernatural; that mind must be alike ignorant of the true character both of legend and of history, of the natural and the supernatural.