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When the purse strings tighten up at museums, the institutions usually cut back and cancel shows. That's exactly the wrong reaction. In fact, now is a good time for them to loosen up - a chance to breathe and experiment a little - and go for the juicy solution lurking in their own basements.
I wish I could write about shows outside New York. I often feel like the last person to know anything, because I almost never get to leave town, and when I do, I tend to go for three days max. Seeing between 30 and 40 shows a week in 100 or so galleries and museums takes up nearly all my time.
When museums are built these days, architects, directors, and trustees seem most concerned about social space: places to have parties, eat dinner, wine-and-dine donors. Sure, these are important these days - museums have to bring in money - but they gobble up space and push the art itself far away from the entrance.
I don't plan out my visits rigorously, but I do have a list of about 125 New York galleries, alternative spaces, museums, and so forth that I visit regularly. That's the closest thing I have to a strategy: I go to a lot of places, many that artists don't visit.
New York being what it is, our museums are vertical, not horizontal. That means the stumbling blocks to architectural clarity are unavoidable - but certainly surmountable.
Of course art world ethics are important. But museums are no purer than any other institution or business. Academics aren't necessarily more high-minded than gallerists.
Switzerland felt incredibly narrow, growing up. It was good, in a way. There were so many museums. But it was always a no-brainer that I would have to leave, and I'm grateful for that.
During my time at high school and university in Kreuzlingen and St. Gallen, I traveled around Europe looking at art, visiting artists, studios, galleries and museums.
Numerous are the posthumous museums and memorials devoted exclusively to one artist, architect or author and designed to preserve or artificially reconstruct the namesake's original working or living conditions.
The museums and parks are graveyards above the ground- congealed memories of the past that act as a pretext for reality.
History is representational, while time is abstract; both of these artifices may be found in museums, where they span everybody's own vacancy.
I don't want to sound pretentious, but I love art, I like to go to museums, and I like to read books.
Being in America isn't old-hat - it's where we're from - but I get excited to be in other parts of the world like Athens and Croatia, which were quite cool. I'm a sightseer. I go see the sights and museums. I'm into that kind of thing.
With any career you're in, there's always a life outside of your career, and that's one thing when you're on the road 300 days of the year, you start missing your family, you miss your friends, you miss all the things you enjoy in life like going to the movies, museums.
We love going to museums. We are so into history and into art. We find it a great way to decompress.
My dream was always to be in museums. It's a big and important milestone and a fulfillment of one of my primary ambitions.
Kerry James Marshall
Small paintings can be fantastic. But you can't often get a narrative out of a small painting. In any case, museums are huge places, and you want to take up some space.
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.
There is much about the shared terrain of being a black person in the United States that is not seen on small or silver screens or in museums or best-selling books, and much of what gets ignored in the mainstream thrives, and is celebrated, on Twitter.
I applied for funding to embark on an overseas field trip in Iceland, and spent six weeks there happily holed up in the national archives, museums and libraries, sifting through ministerial and parish records, censuses, maps, microfilm, logs, and local histories.
The habit of collecting, of attachment to things, is an essential human trait. But Western civilization put collecting on a pedestal by inventing museums. Museums are about representing power. It could be the king's power or, later, people's power.
There are too many war museums.
It was during my first trip to America in 1953 - that's when I learned to visit museums. I was then 26 years old. When I travel, the first thing I do is to visit museums. When I go to New York City, I usually go to Broadway to see the shows.
I love all the arts - so museums, theatre, music, walks near trees or by the ocean, time with people, psychological readings.
In all big cities the style of life is the same. Same endless array of restaurants; same big museums with the usual suspects; same anonymity, which can be thrilling when you're young but which I found got tiresome.
Renzo Piano and Richard Rogers's Centre Georges Pompidou of 1971-1977 - the true prototype of the modern museum as popular architectural spectacle - wound up costing so much more than planned that the French government solved the shortfall by cutting support for several regional museums.
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