Quotes about museum
page 2

“”Jewish Peril” exposed.
Historic “Fake.”
Details of the forgery.
More parallels.
We published yesterday an article from our Constantinople Correspondent, which showed that the notorious “Protocols of the Elders of Zion” – one of the mysteries of politics since 1905 – were a clumsy forgery, the text being based on a book published in French in 1865. The book, without title page, was obtained by our correspondent from a Russian source, and we were able to identify it with a complete copy in the British Museum.
The disclosure, which naturally aroused the greatest interest among those familiar with Jewish questions, finally disposes of the “Protocols” as credible evidence of a Jewish plot against civilization.
We publish below a second article, which gives further close parallels between the language of the Protocols and that attributed to Machiavelli and Montesquieu in the volume dated from Geneva.
Plagiarism at Work.
(From our Constantinople Correspondent.)
While the Geneva Dialogue open with an exchange of compliments between Monsequieu and Machiavelli, which covers seven pages, the author of the Protocols plunges at once in medias res.
One can imagine him hastily turning over those first seven pages of the book which he has been ordered to paraphrase against time, and angrily ejaculating, “Nothing here.” But on page 8 of the Dialogues he finds what he wants.
Publisher: Good work Graves…we finally paid your émigré £ 300 for it…now if we can find Golovinski and get his confession…
Graves: He joined the Bolsheviks.
Golovinski became a party ‘’’activist’’’ and rose to be an adviser to Trotsky. But he ‘’’died’’’ last year!
Publisher: Well, that’s that!
Publisher: Oh but Graves, “The Times” is influential… after our expose we’ll probably hear no more of this fraud!
Graves: I’m not sure!
Anti-Bolsheviks, White Russians, published thousands of copies! Here’s a page from Nilus’ “The Great in the Small.”
Publisher: Astonishing…mystical symbols…eh?
The “Protocols” quickly began to circulate around the world.
A French edition this year…and in America Henry Ford, the auto magnate, has been serializing it in his paper, the “Dearborn independent”!
Publisher: When did it first appear in Europe?
Graves: The German edition…dated 1919, was the first!
This is an evil book…a fake designed to malign a whole group of people.
Publisher: I know, I know! …Ugly stuff, Graves.
Graves: Well, what are we to do about it?
Publisher: Your report exposed it as a foul fraud!
Publisher: Y’forget the power of the press, graves! “The Times” has tremendous worldwide influence.
This fraud will soon be well known everywhere…so, my boy, ‘’’what harm can the “protocols” possibly do now?”

Will Eisner (1917–2005) American cartoonist

Source: The Plot: The Secret Story of the Protocols of the Elders of Zion (10/2/2005), pp. 91-94

People, Books, World, Imagination

“Yes, yes, I see it all! — an enormous social activity, a mighty civilization, a profuseness of science, of art, of industry, of morality, and afterwords, when we have filled the world with industrial marvels, with great factories, with roads, museums and libraries, we shall fall exhausted at the foot of it all, and it will subsist — for whom? Was man made for science or was science made for man?”

Miguel de Unamuno (1864–1936) 19th-20th century Spanish writer and philosopher

The Tragic Sense of Life (1913), I : The Man of Flesh and Bone

World, Art, Science

“Japanese refer to Europe as a "museum" and America as a "farm."”

Robert Gilpin (1930–2018) Political scientist

Source: The Political Economy of International Relations (1987), Chapter Ten, Emergent International Economic Order, p. 378

“It is the rare person who can stand aside and observe that our minds and identities are largely constructs of our social order, that we are abstract and arbitrary collections of ideas that resemble dusty archives in the galleries of a museum, visited by nobody, and maintained by a series of those insensible robots that are our habits.”

Justina Robson book Natural History

Source: Natural History (2003), Chapter 25 “Tom Who Built the Aeroplane” (pp. 254-255)

Idea, Personality

“I just wanted to study how to portray clairvoyance, and I finally took an ocular approach. She has these beautiful blue eyes and her gaze is gently penetrating. All the obvious stuff about her you can find online but I wanted more of the nitty-gritty, like how did it affect her sex life? If you're domestic ballbuster by day and a ghostbuster by night, how does that affect your home life? I opted not to go down to their museum of the occult that they maintain in the basement, Patrick and I both. We stayed upstairs.”

Vera Farmiga (1973) American actress

On getting to know Lorraine Warren for her role in The Conjuring, as quoted in " Vera Farmiga on The Conjuring, Bates Motel, maternal angst … and knitting https://www.theguardian.com/film/2013/aug/01/vera-farmiga-conjuring-bates-motel-interview" by John Patterson at The Guardian (August 2, 2013)

Life, Beauty, Sex, Home

“I think more audiences would like contemporary music if they were presented with it, told about it. It's just a matter of familiarity, I think. Then one begins to look back at old music as stuffy, or even tiresome. It's funny -- I'm beginning to like older music more than I used to, but it's like I'm going into a museum and contemplating a Rembrandt. It just feels like its part of the aristocratic class system of kings and queens and dukes which just doesn't exist anymore.”

Elliott Carter (1908–2012) American composer

From American Gothic: An Interview with Elliott Carter http://edwebproject.org/carter.html (1993) by Andy Carvin.

Music, Feeling, Thinking, Parting

“Thus the facilities (of the Advocates' Library), which in England were provided at the taxpayers' expense in the British Museum, were in Scotland afforded entirely at the cost of the Scottish Bar… Much the greater part of their annual income was expended in maintaining it.”

Hugh Macmillan, Baron Macmillan (1873–1952) British judge

Source: A Man of Law's Tale (1952), At the Scottish bar, p. 234

Parting

“If it's really true, that the museum at Liberty University has dinosaur fossils which are labelled as being 3000 years old, then that is an educational disgrace. It is debauching the whole idea of a university, and I would strongly encourage any members of Liberty University who may be here… to leave and go to a proper university.”

Richard Dawkins (1941) English ethologist, evolutionary biologist and author

At Randolph-Macon Woman's College in Lynchburg, Virginia, Broadcasted by C-SPAN2 http://richarddawkins.net/home

Education, Idea, Universe

“I wanted something ephemeral, that would pass like a falling star and, most importantly, that would be impossible for museums to reabsorb. I didn't want it to be 'museumised'. The work had to pass by, make people dream and talk, and that would be all, the next day nothing would be left, everything would go back to the garbage bins.”

Jean Tinguely (1925–1991) Swiss painter and sculptor

Quote of Tinguely in a radio interview (1982), as cited in: 'Violand-Hobi', Heidi G. Jean Tinguely: Life and Work (NY: Prestel, 1995), p. 36 ; Talking about his Homage to New York; Cited in: John D. Powell. (2009, p. 31).
Quotes, 1980's

People, Dreams, Star

“Chicago is my favorite American city. … I like all the museums. I love the Art Institute. I love all the theatre and the blues clubs and bars, and the people are so great. I think Chicago is the perfect blend of a big city with a Midwestern finish on it. Everybody is really nice but it is a sophisticated city. I love the park. I love the zoo. I love the lake. The whole thing.”

Megan Mullally (1958) American actress

Attributed

Love, People, Art, Thinking

“I reacted to Cézanne almost the same way as you [= Rosalyn Drexler ], the first time I saw him when I was 14... Then I saw my first Cezanne and it jolted me. It was a 'Bathers' [Cézanne painted several of them]. I didn't think he drew well at all. I thought the figures looked stiff and wooden, but I was enthralled by it. I knew there was something there that was going to take me a lifetime to understand. What I took to be the crudity of his technique — that opened a door for me. I began to look at everything differently. That was the year [1932] I discovered Matisse, Picasso, Degas, Soutine — I began to go to the Museum of Modern Art every week. At the same time, I loved New Yorker covers — and El Greco. I didn't mind mixing things up. Nobody was going to tell me what to like or what not to like. Until I was 17 I thought all real artists (I didn't count commercial artists) were dead or foreign with the exceptions of Georgia O'Keeffe and John Marin, whose work I had seen at 'An American Place.”

Elaine de Kooning (1918–1989) American painter

n.p.
1950 - 1971, Why Have There Been No Great Women Artists' - Rosalyn Drexler with Elaine de Kooning (1971)

Love, Art, Way, Understanding

“Actually Rogers Fry's Vision and Design [1920] was the most lucky discovery for me. I came on it by chance while looking for another book in the Leeds Reference Library. Fry in his essay on 'Negro Sculpture' stressed the 'three-dimensional realization' that characterized African art and its 'truth to material'. More, Fry opened the way to other books and to the realization of the British museum. That was really the beginning.”

Henry Moore (1898–1986) English artist

Quote of Moore in 'Partisan Review', New York, March-April 1947
1940 - 1955

Truth, Books, Art, Way

“To show that this end [of art by its dissolution into real life] is only a beginning, it is essential that.... the series of galleries [of the future museum of modern art] be followed by a room in which painting and sculpture will be realized by the interior itself.... demonstrating that what is lost for art is gained for life. This room could therefore be designed for use as a lecture room, a restaurant.... as a bar with an American jazz band.”

Piet Mondrian (1872–1944) Peintre Néerlandais

Mondrian's reaction on a questionnaire (c. 1931?)
Quote of Mondrian, as cited in Mondrian, -The Art of Destruction, Carel Blotkamp, Reaktion Books LTD. London 2001, p. 166
1930's

Life, Art, Future, Painting

“When I was five years old, my mother took me to the Metropolitan. I remember being overwhelmed by the hush — the glamor of the place. Also I used to be mesmerized by the stained-glass windows in church — but it never occurred to me that anyone made them. I thought they were just there, like trees, chairs, houses and the reproductions on the walls at home. I was always drawing, but I didn't make any connection. Then, by the time I was 10 or 11, other kids were asking me for my drawings and were referring to me as an artist. I hadn't given the matter any thought. I just loved to draw. I loved the activity. But when they bestowed the title on me (by then I was reading about artists and going to museums on my own), I thought, oh yes, I'm an artist, and from then on I took it for granted — and I began to compete. I'd read that Raphael had done something by the age of 12 and I'd get very anxious. I became very time-conscious. If I read about someone's great accomplishment at the age of 20, I'd heave a sigh of relief and feel, maybe theres still time. How did you start?”

Elaine de Kooning (1918–1989) American painter

to Rosalyn Drexler
n.p.
1950 - 1971, Why Have There Been No Great Women Artists' - Rosalyn Drexler with Elaine de Kooning (1971)

Love, Age, Feeling, Home

“.. that distinguished aesthete [ Gustave Moreau, ] famous artist and art teacher in Paris, then] who paints nothing than rubbish, it is because his dreams are suggested not by the inspiration of Nature, but by what he has seen in the museums... I should like to have that good man under my wing, to point out to him the doctrine of a development of art by contact with Nature. It's so sane, so comforting, the only just conception of art.”

Paul Cézanne (1839–1906) French painter

Quote in a conversation with Vollard, in the studio of Cézanne, in Aix, 1896; as quoted in Cezanne, by Ambroise Vollard, Dover publications Inc. New York, 1984, p. 66
Quotes of Paul Cezanne, 1880s - 1890s

Dreams, Art, Nature, Teachers

“What I like so much about Corot is that he can say everything with a bit of tree; and it was Corot himself that I found [back] in the museum of Naples – in the simplicity of the work of Pompeii and the Egyptians. These priestesses in their silver-grey tunics are just like Corot's nymphs.”

Pierre-Auguste Renoir (1841–1919) French painter and sculptor

Source: 1880's, Renoir – his life and work, 1975, p. 164 : quote from Renoir's letter to Durand-Ruell, 1882, referring to a small painting with trees of the landscape-painter Corot

Tree

“What can I do with this memory?
Shake the bones out of it?
Defoliate the smile?
Stub out the chin with cigarettes?
Take the face of the man I love
and squeeze my foot into it,
when all the while my heart is making a museum?
I love you the way the oboe plays.
I love you the way skinny dipping makes my body feel.
I love you the way a ripe artichoke tastes.
Yet I fear you,
as one in the desert fears the sun.”

Anne Sexton (1928–1974) poet from the United States

"Waking Alone" from The Divorce Papers
45 Mercy Street (1976)

Love, Fear, Smile, Way

“Sister Wendy at the Norton Simon Museum”

Wendy Beckett (1930–2018) British Catholic nun and presenter of documentaries for the BBC on the history of art

2001
Documentaries

Sister

“I intend to make this day forward the first day of the rest of my life. We can change our lives. You say, 'Well, what's wrong with your life, Michael?' Well, it's not that there's anything wrong with my life, but it's not what I want it to be. I don't feel that I'm inspiring people in the way I want to inspire them. You see, you can inspire through hate; you can inspire through love, hope, humor – the positives. I look at the history of the world, and I look at the world today, and I realize that if we don't inspire each other through positive attributes – love, hope and humor – we're gonna descend into the barbarism of the Left and the barbarism of ISIS. You like me to be hard, you like me to be tough, you like me to give you the breaking news, you like me to be cynical, you like me to analytical, you like me to give you stuff that you don't hear anywhere else – I get that. But there's a limit to that. There's a lot of area beyond all that.I think of Christmas. Christianity is the religion of peace. Christianity is the true religion of peace. 'Turn the other cheek.' 'Do unto others as you would have them do unto you.' These are messages that come from Christianity. What can you do in an age of deceit and lies and terror? You can go to church again. However un-needing you think you really are, you know in your heart that there's something missing in you. You know that you crave something greater. Because the human being is not a dog. We are unique creatures. And we need something different than the bear, the dog, the snake and the eagle. What is that thing that we need? It's that 'thing' called God.The media has promulgated the idea, and promoted the idea, that we only need food and fornication. And so when people are empty that's what they seek. And when they are really empty, what happens? They become drug addicts. They start with marijuana, they end up with heroin, crack, you name it. As God has been driven out of America, drugs have entered America. What does an empty soul look to do? An empty soul looks to fill itself. Just as an empty vessel needs to be filled with a liquid to be complete, an empty human being needs to fill itself to be complete. And how does it fill itself? I know, again, many of you will laugh because you're cynical; it's through those things I'm talking about – inspiration. Do you think a musician can play one day without inspiration from somewhere? The greatest artists in the history of the world were not drug-addicts. They were usually God-addicts. Look at the greatest art in history, you'll find most of them were super religious people, who literally saw God in their living room, and they took the power of God and that was transmitted through the paintbrush, or through that piece of marble. How could a man like Rodin take a piece of inert stone, and inside that stone see the essence of the human form, and sculpt from that block of inert stone, a marble, the portrait of a human being that looks so real – a hundred years later I go and look at them in the museum, and literally inside that carved eye I can see the person; how is that possible? How? It's a different show than I've ever done in my 21 years, because each day to me – I must tell you – I see as my last day, my last day on Earth.”

Michael Savage (1942) U.S. radio talk show host, Commentator, and Author

The Savage Nation (1995- ), 2015

Love, Life, God, Hate

“The populace is a true museum of all the stupidities of the ages: it swallows everything, it admires everything, it preserves everything, it defends everything, it understands nothing.”

Louis-ferdinand Céline (1894–1961) French writer

145
L'Ecole des cadavres (1938)

Age, Stupidity, Understanding

“Be modern
collectors, museums
if you have old paintings
do not despair
Retain your memories
but detourn them
so that they correspond with your era.
Why reject the old
if one can modernize it
with a few strokes of the brush.
This casts a bit of contemporaneity
on your old culture.
Be up to date
and distinguished
at the same time.
Painting is over
You might as well finish it off
Detourn (détournez)
Long live painting.”

Asger Jorn (1914–1973) Danish artist

On his Détournements, modifications of old, existing paintings, in the foreword to the catalogue of his exhibition Modifications (1959)
1959 - 1973, Various sources

Memory, Time, Painting, Despair

“Nothing in nature or the cosmos is ever completely still — as I write this, several wild Mallards have returned to the Museum courtyard and are creating a frantic spectacle of water and wings as they dive and attack in their annual spring ritual. Further from home, a supermassive black hole at the center of a galaxy 56 million light years from Earth has recently been observed to be spinning at close to the speed of light.”

Evalyn Gates (1958)

"Letter from the director", Explore magazine of the Cleveland Museum of Natural History (Spring 2013), p. 4

Home, Spring, Nature, Light

“Visiting a museum is a matter of going from void to void. Hallways lead the viewer to things once called 'pictures' and 'statues." Anachronisms hang and protrude from every angle. Themes without meaning press on the eye. Multifarious nothings permute into false windows (frames) that open up into a variety of blanks. Stale images cancel one's perception and deviate one's motivation. Blind and senseless, one continues wandering around the remains of Europe, only to end in that massive deception 'the art history of the recent past'”

Robert Smithson (1938–1973) American artist

Smithson, Robert. " Some void thoughts on museums http://www.robertsmithson.com/essays/void.htm." Flam, Robert Smithson 42 (1996).

Art, History, Motivation, Past

“Since I have a deep sense of responsibility for the life my pictures will lead out in the world, I will with gratitude accept any form of their exposition in which their life and meaning can be maintained, and avoid all occasions where I think that this cannot be done.... unfortunately, there are few existing alternatives for the kind of activity which your museum represents. Nevertheless, in my own life at least, there must be some congruity between convictions and actions if I am to continue to function and work.”

Mark Rothko (1903–1970) American painter

Quote from Rothko's letter to Whitney's director Lloyd Goodrich, End of 1952; as cited in Mark Rothko, a biography, James E. B. Breslin, University of Chicago Press, 1993, p. 304
Rothko was turning down a museum purchase
1950's

Life, World, Thinking, Sense

“You can't sell anything to the museum nowadays. If one presents something now, one is partly rejected because they have no money in cash. Yes Friend, that's how things are going... It's going very bad here with the old arts in The Hague., I hardly hear of anything. How are things going in Rotterdam? I believe that also there is not much moving.”

Andreas Schelfhout (1787–1870) Dutch painter, etcher and lithographer

translation from original Dutch: Fons Heijnsbroek
(original Dutch, citaat van Schelfhout, uit zijn brief:) Aan het museum [ver]koop men tans niets. Als men iets tans presanteert, wort men daar mede afgewezen, daar is geen geld bij kas. Ja Vriend, zo gaat het.. .Het is tans zeer dwaas met de oude kuns bij ons [in Den Haag]., ik hoor bijna van niets. Hoe gaat het te Rott.m? Ik geloof dat daar ook niet veel beweeging er mede is.
Quote from Schelfhout's letter to J. Immerzweel, 8 Jan. 1825; original text from the letter in the collection of the Koninklijke Bibliotheek (Royal Library), The Hague, no. 133 C12

Money, Art

“Arafat's prospective visit to the museum recalls Anwar Sadat's visit to Yad Vashem in 1977 in the company of Menachem Begin. Sadat's visit was also a symbolic submission to the Zionization of the holocaust and to its appropriation by Israeli propagandists for their own purposes.”

Joseph Massad (1963) Associate Professor of Arab Studies

Ibid.
On the PLO

“The shrinking world was becoming too small to permit a whole people to be set aside in a vast protected anthropological museum where they would try to perpetuate the merits and defects of a way of life that had vanished elsewhere, a way of life that - so long as it continued - would deprive millions of foreign people of the food and fibres that could have been grown on the land.”

Geoffrey Blainey (1930) Australian historian

A Shorter History of Australia (1994)

Life, People, World, Food

“It's like Impressionism. They all do it at the Salons. Oh, very discreetly! I too was an Impressionist. I don't conceal the fact. Pissarro had an enormous influence on me. But I wanted to make out of Impressionism something solid and lasting like the art of the museums.”

Paul Cézanne (1839–1906) French painter

Source: Quotes of Paul Cezanne, after 1900, Cézanne, - a Memoir with Conversations, (1897 - 1906), p. 164, in: 'What he told me – I. The motif'

Art

“The Natural History Museum is open to the public on Tuesdays and Fridays. Elephant, rhinoceros, hippopotamus; extraordinary animals! Rubens rendered them marvellously. I had a feeling of happiness as soon as I entered the place and the further I went the stronger it grew. I felt my whole being rise above commonplaces and trivialities and the petty worries of my daily life.”

Eugène Delacroix (1798–1863) French painter

19 January 1847 (p. 55)
1831 - 1863, Delacroix' 'Journal' (1847 – 1863)

Life, Feeling, History, Nature

“We can't always trust what we see in museums, but we can certainly ALWAYS trust what we read in the Bible.”

Ken Ham (1951) Australian young Earth creationist

Did Eve really have an Extra Rib?: And other tough questions about the Bible (2002)

Reading

“The Impressionists were the first [painters] to reject the absolute value of the subject and to consider its value to be merely relative... In Paul Cezanne's letters I notice ideas like these: 'Objects must turn, recede, and live. I wish to make something lasting from impressionism, like the art in the museums'....'For an impressionist, to paint after nature is not to paint the object, but to express sensations'....'After having looked at the old masters, one must take haste to leave them and to verify in one's self the instincts, the sensations that dwell in us.”

Fernand Léger (1881–1955) French painter

Quote, 1914, in 'Functions of Painting by Fernand Leger'; p. 11
Quotes of Fernand Leger, 1910's, Contemporary Achievements in Painting, 1914

Art, Idea, Nature, Painting

“Albert Gleizes did not know Montmartre, had never seen anything of Picasso or Juan Gris, never heard Maurice Princet construct an infinite number of different spaces for the use of painters, but he described to me the absurdity of the museums in which mournful, extravagantly three dimensional crowds threaten to crush the visitor by jumping out of their frames.”

Jean Metzinger (1883–1956) French painter

Cubism was born

“Now one thing is annoying and no one can change this. It is that the days are so horribly short because of the dark weather. Sketching and [? ] is still possible to do, but to look closely and to reproduce subtle hues and shades would now be completely impossible. Especially in the Museum it is sometimes really dark.”

Gerard Bilders (1838–1865) painter from the Netherlands

translation from the Dutch original: Fons Heijnsbroek version in original Dutch / citaat van Gerard Bilders' brief, in het Nederlands: ..Nu is er maar één ding, dat hinderlijk is en waar niemand iets aan veranderen kan, het is, dat de dagen zoo schrikkelijk kort zijn door het donkere weder. Voor aanleggen[?] en schetsen gaat het nog, maar fijne toonen en tinten te begluren en weder te geven zou nu eene onmogelijkheid zijn. Vooral op het Museum is het somtijds bijzonder duister. Quote of Gerard Bilders, in a letter to his mecenas Johannes Kneppelhout, The Hague 19 Jan. 1857; from an excerpt of this letter https://rkd.nl/nl/explore/excerpts/512, in the RKD-Archive, The Hague 1850's

Change, Weather

“The mind is like a well-endowed museum, only a small fraction of its holdings on view at any one time.”

James Richardson (1950) American poet

#407
Vectors: Aphorisms and Ten Second Essays (2001)

Time

“It is hard, terribly hard, to keep on working when one does not sell, and one literally has to pay for one's colors from what would not be too much for eating, drinking and lodgings, calculated ever so strictly. And then, besides, the models... All the same they are building State museums, and the like, for hundreds of thousands, but meanwhile, the artists can go to the dogs.”

Vincent Van Gogh (1853–1890) Dutch post-Impressionist painter (1853-1890)

Quote in his letter, from Antwerp, Belgium, Dec. 1885; as quoted in Vincent van Gogh, edited by Alfred H. Barr; Museum of Modern Art, New York, 1935 https://www.moma.org/documents/moma_catalogue_1996_300061887.pdf, (letter 438) p. 35 1880s, 1885

Dogs, Color, Drink

“I was introduced to the great philosophical systems of the past to which the Western universities have given their blessing, arranging and classifying them with the delicate care lavished on museum pieces. When once these systems were so handled, it was natural that they should be regarded as monuments of human intellection. And monuments, because they mark achievements at their particular point in history, soon become conservative in the impression which they make on posterity. I was introduced to Plato, Aristotle, Descartes, Kant, Hegel, Schopenhauer, Nietzsche, Marx and other immortals, to whom I should like to refer as the university philosophers. But these titans were expounded in such a way that a student from a colony could easily find his breast agitated by Conflicting attitudes. These attitudes can have effects which spread out over a whole society, should such a student finally pursue a political life. A colonial student does not by origin belong to the intellectual history in which the university philosophers are such impressive landmarks. The colonial student can be so seduced by these attempts to give a philosophical account of the universe, that surrenders his whole personality to them. When he does this, he loses sight of the fundamental social fact that he is a colonial subject. In this way, he omits to draw from his education and from the concern displayed by the great philosophers for human problems, anything which he might relate to the very real problem of colonial domination, which, as it happens, conditions the immediate life of every colonized African. With single-minded devotion, the colonial student meanders through the intricacies of the philosophical systems. And yet these systems did aim at providing a philosophical account ofthe world in the circumstances and conditions of their time. For even philosophical systems are facts of history. By the time, however, that they come to be accepted in the universities for exposition, they have lost the vital power which they had at their first statement, they have shed their dynamism and polemic reference. This is a result of the academic treatment which they are given. The academic treatment is the result of an attitude to philosophical systems as though there was nothing to them hut statements standing in logical relation to one another. This defective approach to scholarship was suffered hy different categories of colonial student. Many of them had heen handpicked and, so to say, carried certificates ofworthiness with them. These were considered fit to become enlightened servants of the colonial administration. The process by which this category of student became fit usually started at an early age, for not infrequently they had lost contact early in life with their traditional background. By reason of their lack of contact with their own roots, they became prone to accept some theory of universalism, provided it was expressed in vague, mellifluous terms. Armed with their universalism, they carried away from their university courses an attitude entirely at variance with the concrete reality of their people and their struggle. When they came across doctrines of a combative nature, like those of Marxism, they reduced them to arid abstractions, to common-room subtleties. In this way, through the good graces oftheir colonialist patrons, these students, now competent in the art of forming not a concrete environmental view of social political problems, but an abstract, 'liberal' outlook, began to fulfil the hopes and expectations oftheir guides and guardians.”

Kwame Nkrumah (1909–1972) Pan Africanist and First Prime Minister and President of Ghana

Source: Consciencism (1964), Introduction, pp. 2-4.

Life, People, Age, World

“Not just songs by Madonna and action films starring Arnold Schwarzenegger; it includes 1,700 symphony orchestras, opera attended by 7.5 million people every year, and museums that are visited by 500 million annually, almost all American museums, where entrance is quite often free, owe their existence and funding to private sponsors.”

Jean-François Revel (1924–2006) French writer and philosopher

Source: 2000s, Anti-Americanism (2003), p. 109

People, Star

“New York Mayor Rudy Giuliani is once again expressing outrage at an art exhibit, this time at a painting in which Jesus is depicted as a naked woman. Said the mayor, "This trash is not the sort of thing that I want to look at when I go to the museum with my mistress."”

Tina Fey (1970) American comedian, writer, producer and actress

citation needed

Art, Time, Painting

“I should like to paint like an man who has never seen a painting, but this man – myself – lives in a museum.”

Phillip Guston (1913–1980) American artist

Abstract Expressionism, David Anfam, Thames and Hudson Ltd London, 1990, p. 207
1961 - 1980

Painting

“Baryonyx is on display at the Natural History Museum in London. If you ever get the chance to view this wonderful specimen, remember that you just might be looking at the skeleton of one of the dragons from English history and legend (e. g., Sir George the Dragon Slayer) or one of the dragons spoken of in the Bible.”

Ken Ham (1951) Australian young Earth creationist

Great Dinosaur Mystery Solved! (2000)

History, Nature, Chance

“[something like] a badly constructed or repaired motor, or like that wonderful event of Tinguely's, where he made a huge contraption in the backyard of the Museum of Modern Art called 'Homage to New York', which was a machine that destroyed itself in various humorous ways. It's that breakdown system along with slippages that you can't predict I find most interesting, not because I want to make a point about society as being a broken down system or that all life is entropic — I don't, but rather that its process is unforeseeable.”

Allan Kaprow (1927–2006) American artist

In an interview with Robert C. Morgan, 1991; in the 'Journal of Contemporary Art, 4', no. 2, p. 56-69
Source: https://www.youtube.com/watch?v=0MqsWqBX4wQ

Life, Art, Way

“Allowing, therefore, the great usefulness of the Government Schools, the Exhibitions, and the Museums both public and private, the question now arises as to what are the impediments to our future progress. The principal ones appear to me to be three.
# A want of a distinctive architecture, which is fatal to art generally.
# The want of a good costume, which is fatal to colour; and
# The want of a sufficient teaching of the figure, which is fatal to art in detail.
It will perhaps be as well to take these one by one.
The most fatal impediment of the three is undeniably the want of a distinctive architecture in the nineteenth century. Architecture is commonly called the mother of all the other arts, and these latter are all more or less affected by it in their details. In almost every age of the world except our own only one style of architecture has been in use, and consequently only one set of details. The designer had accordingly to master, 1. the figure, and the great principles of ornament; 2. those details of the architecture then practised which were necessary to his trade; and 3. the technical processes. Now what is the case in the present day? If we take a walk in the streets of London we may see at least half-a-dozen sorts of architecture, all with different details; and if we go to a museum we shall find specimens of the furniture, jewellery, &c., of these said different styles all beautifully classed and labelled. The student, instead of confining himself to one style as in former times, is expected to be master of all these said half-dozen, which is just as reasonable as asking him to write half-a-dozen poems in half-a-dozen languages, carefully preserving the idiomatic peculiarities of each. This we all know to be an impossibility, and the end is that our student, instead of thoroughly applying the principles of ornament to one style, is so bewildered by having the half-dozen on his hands, that he ends by knowing none of them as he ought to do. This is the case in almost every trade; and until the question of style gets gets settled, it is utterly hopeless to think about any great improvement in modern art.”

William Burges (1827–1881) English architect

Source: Art applied to industry: a series of lectures, 1865, p. 8-9; Partly cited in: Journal of the Royal Society of Arts. Vol. 99. 1951. p. 520

Age, World, School, Art

“Henry Fairfield Osborn, the dominant paleontologist of his era, and long time director of the American Museum of Natural History, gave the "standard version in his popular book of 1918, The Origin and Evolution of Life… "Lamarck attributed the lengthening of the [giraffe's] neck to the inheritance of bodily modifications caused by the neck-stretching habit. Darwin attributed the lengthening of the neck to the constant selection of individuals and races which were born with the longest necks. Darwin was probably right."”

Stephen Jay Gould book Leonardo's Mountain of Clams and the Diet of Worms

…The version has held ever since.
"The Tallest Tale", p. 314
Leonardo's Mountain of Clams and the Diet of Worms (1998)

Life, Books, History, Nature

“Entering through the double doors, I had to make my way through room after room of African masks and voodoo dolls dating from no particular time, as well as clay pots and things crafted by all sorts of third-world people. I'm happy for these people that they have their ways, though some of it gave me the creeps. But I want to know: why is all this primitive nonsense in a prestigious museum? Even more absurdly, why does it take up the first three rooms in a place that surely lacks sufficient space for exhibits? Clearly the nutty multiculturalists had prevailed here.”

Jeffrey Tucker (1963) American writer

Source: Letter From New England, archive.lewrockwell.com, 2016-05-22 http://archive.lewrockwell.com/orig/tucker5.html,

People, World, Way, Time

“Whether it is in the slums of New Delhi or in the affluence of Las Vegas, it simply isn't fair that there should be any losers. Life is unfair — there is nothing fair about one man being born blind and another man being born with sight. There is nothing fair about one man being born of a wealthy parent and one of an impecunious parent. There is nothing fair about Muhammad Ali having been born with a skill that enables him to make millions of dollars one night. There is nothing fair about Marlene Dietrich having great legs that we all want to watch. There is nothing fair about any of that. But on the other hand, don't you think a lot of people who like to look at Marlene Dietrich's legs benefited from nature's unfairness in producing a Marlene Dietrich. What kind of a world would it be if everybody was an absolute identical duplicate of anybody else. You might as well destroy the whole world and just keep one specimen left for a museum. In the same way, it's unfair that Muhammad Ali should be a great fighter and should be able to earn millions. But would it not be even more unfair to the people who like to watch him if you said that in the pursuit of some abstract idea of equality we're not going to let Muhammad Ali get more for one nights fight than the lowest man on the totem pole can get for a days unskilled work on the docks. You can do that but the result of that would be to deny people the opportunity to watch Muhammad Ali. I doubt very much he would be willing to subject himself to the kind of fights he's gone through if he were to get the pay of an unskilled docker.”

Milton Friedman (1912–2006) American economist, statistician, and writer

From Created Equal, an episode of the PBS Free to Choose television series (1980, vol. 5 transcript) http://www.freetochoosemedia.org/broadcasts/freetochoose/detail_ftc1980_transcript.php?page=5.

Life, People, World, Way

“German: I am the first living art museum”

Genco Gulan (1969) contemporary artist

Ich bin das erste lebende kunst museum. Arikonmaz, Piril Gulesci (2012-02-02) 'Ben bir müzeyim’ http://www.haberturk.com/yazarlar/piril-gulesci-arikonmaz/712691-ben-bir-muzeyim Haberturk (In Turkish). Retrieved 2012-06-01.

Art

“There were three known existing sapphires. One was in the Conquest of Space Museum on Terra, one was in the hands of United System President Polonius Delph—he was the richest man in seven worlds, or had been until he’d paid cash for his jewel. The other had been stolen soon after its discovery. Maybe Delph had it…
“From what I understand of your world, Delph isn’t the only one who wants the sapphires. He has rivals in the Plutocracy. Another mysterious collector? Or those rivals are competing for the presidency or they think they can ruin him. As you know, it’s a vicious circle in politics. You can’t get to be president unless you have the wealth and you can’t really make massive sums until you’re president.””

Michael Moorcock (1939) English writer, editor, critic

Source: Short fiction, The Lost Canal (2013), p. 355

World, Understanding, Thinking, Wealth

“One problem the museum has always had in the eyes of some cadets is its worship of General Mark Clark. One whole room of the museum is dedicated to the propagation of Clark's exploits through two wars. The room itself is dark, an inner sanctum lit with tabernacle lights, and smoking with a kind of mystical incense which seems to compliment the godly aura of the man himself… Statues of Clark, pictures of Clark, letters from Clark, letters to Clark, speeches by Clark, and a seemingly endless amount of Clark memorabilia helps make the museum a monument to his career. If any pictures were available of Clark walking on water or changing wine into water, they would be dutifully placed in the museum by people who suffer guilt feelings that The Citadel has never produced an international figure of its own.”

Pat Conroy book The Boo

Source: The Boo (1970), p. 95

War, People, Feeling, Problem

“Communism is at once a complete system of proletarian ideology and a new social system. It is different from any other ideological and social system, and is the most complete, progressive revolutionary and rational system in human history. The ideological and social system of feudalism has a place only in the museum of history. The ideological and social system of capitalism has also resembles "a dying person who is sinking fast, like the sun setting beyond the western hills", and will soon be relegated to the museum. The communist ideological and social system alone is full of youth and vitality, sweeping the world with the momentum of an avalanche and the force of a thunderbolt.”

Mao Zedong (1893–1976) Chairman of the Central Committee of the Communist Party of China

On New Democracy (1940)

Youth, World, History, Communication

“…a clear lesson I learned in the museum was that outside forces that tend to divide people up inside their country are unbelievably counterproductive. In other words, people came from other countries — I guess you'd call them colonialists — and they pitted one group of people against another.”

George W. Bush (1946) 43rd President of the United States

Press Availability with President Kagame of Rwanda (February 19, 2008) http://georgewbush-whitehouse.archives.gov/news/releases/2008/02/20080219-6.html http://thinkprogress.org/2008/02/20/bush-outside-forces-tend-to-divide-people-up 2000s, 2008

People, Learning, Country

“Nothing endures, nothing is precise and certain (except the mind of a pedant), perfection is the mere repudiation of that ineluctable marginal inexactitude which is the mysterious inmost quality of Being. Being, indeed! – there is no being, but a universal becoming of individualities, and Plato turned his back os truth when he turned towards his museum of specific ideals.”

H. G. Wells book A Modern Utopia

Source: A Modern Utopia (1905), Ch. 1, sect. 5

Truth, Universe, Perfection

“I remember I stood stunned as a boy, in front of the paintings of the old [Dutch] masters in our museums, how they let speak Nature to you. If I have learned to see nature by someone, it was by our old masters. But most by Nature itself.”

Jan Hendrik Weissenbruch (1824–1903) Dutch painter of the Hague School (1824-1903)

translation from Dutch, Fons Heijnsbroek, 2018 version in original Dutch / citaat van J. H. Weissenbruch, in het Nederlands: Ik herinner me, dat ik als jongen in onze museums voor de schilderijen van de oude meesters verstomd stond, zoals ze de natuur tot je lieten spreken. Als ik van iemand geleerd heb de natuur te zien dan is het van onze oude meesters. Maar het meest van de natuur-zelve. in an interview with J.H. Rössing, at the end of his life, c. 1902; as cited in Eind goed Al goed, de carriere van J.H. Weissenbruch https://www.artsalonholland.nl/grote-meesters-kunstgeschiedenis/johan-hendrik-weissenbruch-haagse-school, by Sander Kletter

Boy, Nature, Learning, Painting

“The confusion of spirit and body is quite understandable in a culture where spirit is concretized in magnificent skyscrapers, where cathedrals have become museums for tourists, where woman-flesh-devil are associated, and nature is raped for any deplorable excuse. […] Dieting with fierce will-power is the masculine route; dieting with love of her own nature is the feminine. Her only real hope is to care for her own body and experience it as the vessel through which her Self may be born.”

Marion Woodman (1928–2018) Canadian writer

Source: The Owl Was a Baker's Daughter (1980), p. 100

Love, Hope, Understanding, Nature

“Yet I also appreciate that we cannot win this battle to save species and environments without forging an emotional bond between ourselves and nature as well—for we will not fight to save what we do not love (but only appreciate in some abstract sense). So let them all continue—the films, the books, the television programs, the zoos, the little half acre of ecological preserve in any community, the primary school lessons, the museum demonstrations, even […] the 6:00 A. M. bird walks. Let them continue and expand because we must have visceral contact in order to love. We really must make room for nature in our hearts.”

Stephen Jay Gould book Eight Little Piggies

"Unenchanted Evening", p. 40
Eight Little Piggies (1993)

Love, Books, School, Communication

“Here we have been hearing terrible rumours about torture of the Jews [by the Nazis], but it's all surely untrue. I'm a little tired and sad about the situation up there. There is a war in the air. In the museums, the hard-won cultural achievements of the last 20 years are being destroyed, and yet the reason why founded the Brücke was to encourage truly German art, made in Germany. And now it is supposed to be un-German [Degenerated Art / Entartete Kunst]. Dear God. It does upset me.”

Ernst Ludwig Kirchner (1880–1938) German painter, sculptor, engraver and printmaker

Letter to Karl Hagemann, May 1933; as quoted in the biography-pdf http://www.kirchnermuseum.ch/data/media/downloads/Biography.pdf of the Kirchner museum, Davos 1930's

God, War, Sadness, Art

“In the Napoleonic Museum in Arenenberg I was rather impressed just how richly clad in the costume of Antiquity the First Empire in fact was - dressed up even comically with its laurels and eagles and togas. Return to Rome wherever you look, though of course not to the Holy Roman Empire - to Caesar's Rome. But the French Revolution itself had fallen back on more or less genuine or imaginary classical models: Brutus and Tiberius Gracchus and Gaius Gracchus, the Gracchi, consuls and Roman virtues - even these revolutionaries couldn't resolve to start from scratch with something really new.”

Ida Friederike Görres (1901–1971) Austrian writer and noble

Broken Lights Diaries 1957-59.

“The boy who first entered a classroom barely able to speak English, twenty years later concluded his studies in the stately quiet of the reading room in the British Museum. Thus with one sentence I can summarize my academic career. It will be harder to summarize what sort of life connects the boy to the man.”

Richard Rodríguez (1944) American journalist and essayist

Hunger of Memory: The Education of Richard Rodriguez (1982)

Life, Boy, Study, Reading

“The one place for art-as-art is the museum of fine art. The reason of the museum or fine art is the preservation of ancient and modern art that cannot be made again and that does not have to be done again. A museum of fine art should exclude everything but fine art, and be separate of museums of ethnology, geology, archaeology, history... Any disturbance of a true museum's soundlessness, timelessness, airlessness, and lifelessness is a disrespect.”

Ad Reinhardt (1913–1967) American painter

Source: 1956 - 1967, Art-as-Art Dogma' part II, (1964), p. 155

Art, History

“I have long recognized the theory and aesthetic of such comprehensive display: show everything and incite wonder by sheer variety. But I had never realized how powerfully the decor of a cabinet museum can promote this goal until I saw the Dublin [Natural History Museum] fixtures redone right. […] The exuberance is all of one piece—organic and architectural. I write this essay to offer my warmest congratulations to the Dublin Museum for choosing preservation—a decision not only scientifically right, but also ethically sound and decidedly courageous. The avant-garde is not an exclusive locus of courage; a principled stand within a reconstituted rear unit may call down just as much ridicule and demand equal fortitude. Crowds do not always rush off in admirable or defendable directions.”

Stephen Jay Gould book Dinosaur in a Haystack

"Cabinet Museums: Alive, Alive, O!", p. 244
Dinosaur in a Haystack (1995)

History, Courage, Nature, Decision

“I… praise the newly opened halls of fossil mammals at the American Museum of Natural History. …teaching us about evolutionary trees by organizing the entire hall as a central trunk and set of branches… placing our brains in our feet and letting us learn by walking. …the chosen geometry of evolutionary organization… violates the traditional picture of life's history, thus illustrating… an important principle in the history of science: the central role of pictures, graphs, and other forms of visual representation in channeling and constraining our thought. …Words are an evolutionary afterthought. …My colleagues have actually done it. …They have ordered all the fossils into an unconventional iconographic tree that fractures the bias of progress. …so that we can preambulate along the tree of life and absorb the new scheme viscerally by walking… They have taken Colbert's radical idea and arranged all the fossils by their branching order, not their later "success" or "advancement."”

Stephen Jay Gould book Dinosaur in a Haystack

Groups that branch early appear early in the hall... Sea cows and elephants are at the end of the hall, horses in the middle, and primates near the beginning.
"Evolution by Walking", pp. 249-254.
Dinosaur in a Haystack (1995)

Life, History, Idea, Tree

“In an ever-advancing spiral the public was made to believe that only Hollywood-style extravaganzas were worth seeing and that only they could give an accurate sense of the world of art. The resulting box-office pressure made the museums still more dependent on corporate funding. Then came the recessions of the 1970s and 1980s. Many individual donors could no longer contribute at the accustomed rate, and inflation eroded the purchasing power of funds. To compound the financial problems, many governments, facing huge deficits—often due to sizable expansions of military budgets—cut their support for social services as well as their arts funding. Again museums felt they had no choice but to turn to corporation for a bail-out.”

Hans Haacke (1936) conceptual political artist

1980s, "Museums, Managers of Consciousness," 1983

World, Art, Support, Problem

““Are you all right, sir?” asked Hezekiah.
“Just fighting over old battles in my mind,” said John. “It’s the problem with age. You have all these rusty arguments, and no quarrel to use them in. My brain is a museum, but alas, I’m the only visitor, and even I am not terribly interested in the displays.””

Orson Scott Card (1951) American science fiction novelist

Source: The Tales of Alvin Maker, Heartfire (1998), Chapter 11.

Age, Problem, Fight

“One of my first sculptures was made of bicycle parts. I was living at that time in a attic in the red light section of Amsterdam. I started to work without any specific materials. I was looking in the street like when I was a young boy, in the garbage cans, for ropes, wires, and paint. I left my parents in 1940. Years later I saw an exhibition of Kurt Schwitters at the Stedelijk Museum in Amsterdam curated by Willem Sandberg and there I saw the real 'objet trouvé'; until then I had never heard about it. Schwitters was a shattering experience.”

Karel Appel (1921–2006) Dutch painter, sculptor, and poet

Source: Karel Appel – the complete sculptures,' (1990), p. 79 'Quotes', K. Appel (1989)

Boy, Parent, Light, Time

“I was glad to get away from those students when I was awarded a Fulbright Fellowship to study in London. I found myself in the British Museum, at first content, reading English Renaissance literature. But then came the crisis: the domed silence; the dusty pages of books all around me; the days accumulating in lists of obsequious footnotes; the wandering doubts about the value of scholarship. My year in Britain came to an end and I rushed to ‘come home.’ Then quickly discovered that I could not. Could not cast off the culture I had assumed. Living with my parents for the summer, I remained an academic—a kind of anthropologist in the family kitchen, searching for evidence of our ‘cultural ties’ as we ate dinner together.”

Richard Rodríguez (1944) American journalist and essayist

Hunger of Memory: The Education of Richard Rodriguez (1982)

Books, Family, Home, Search

“Well, I looked at Picasso [at the Picasso exhibition, Museum of Modern Art, in 1939] until I could smell his armpits and the cigarette smoke on his breast. Finally, in front of one picture – a bone figure on a beach – I got it. I saw that the figure was not his real subject. The plasticity wasn't either – although the plasticity was great. No. Picasso had uncovered a feverishness in himself and is painting it – a feverishness of death and beauty.”

William Baziotes (1912–1963) American painter

Modern Art U.S.A., R. Blesh, New York, Alfred A. Knopf, 1956, pp. 268-69
1950s

Death, Beauty, Art, Painting

“No, the parallels are between modernism, late modernism, and socialist realism, of course. That's two sides of one coin. Both came of this idea of aristocrats, of people in power, imposing the culture on the people. A totally inhuman art. Modern art, and Pollock is the best example, is totally inhuman. Huge pictures for museums--now we call them museums; in Stalin times they were called palaces, but basically the same thing--which we rarely see and rarely visit. The sheer size of this painting, it's a totally inhuman scale. And there it can be typified…”

Alexander Melamid (1945) Russian artist

The search for a people's art: painting by the numbers, 1994

People, Art, Idea, Time

“The essential difference between a sculpture like Andre's Equivalent VIII, 1978, and any that had existed before in the past is that Andre's array of bricks depends not just partly, but entirely, on the museum for its context. A Rodin in a parking lot is still a misplaced Rodin; Andre's bricks in the same place can only be a pile of bricks.”

Robert Hughes (1938–2012) Australian critic, historian, writer

Source: The Shock of the New (1981), p. 393

Past, Dependency

“A deep, deep sadness. You know there's a theologian named Michael Novack who's quoted as saying that 'a community is better off losing its opera house, or its museum, or its CHURCH' — here's a theologian speaking — 'than its ball team'. Brooklyn has never been the same since the Dodgers were taken away.”

George Plimpton (1927–2003) journalist, writer, editor, actor

In Ken Burns' 1994 documentary Baseball discussing his reaction to and opinion of the relocation of the Brooklyn Dodgers to Los Angeles for the 1958 MLB season.

Sadness, Quotes, Communication, Housing

“Starting on a large scale towards the end of the 1960s in the United States and expanding rapidly ever since, corporate funding has spread during the last five years to Britain and the Continent. Ambitious exhibition programs that could not be financed through traditional sources led museums to turn to corporations for support. The larger, more lavishly appointed these shows and their catalogues became, however, the more glamour the audiences began to expect.”

Hans Haacke (1936) conceptual political artist

1980s, "Museums, Managers of Consciousness," 1983

Support

“In Hanover I built, before Hitler's time, a studio called Merzbau. This has been reproduced very much, also in the book 'Dada, Surrealism, Fantastic Art' of the Museum of Modern Art N. Y. I would like to go to Germany for restoring the Merzbau... Could I come with you to an agreement that you give me for this purpose some money? For example that I give you some pictures for the money and use it for restoring the studio... Or would you prefer that you own with me half and half?..”

Kurt Schwitters (1887–1948) German artist

Source: 1940s, I is Style (2000), p. 48 : in a letter (30 April 1946) to Oliver Kaufmann, (department of Painting and Sculpture of the MOMA, New York).

Money, Books, Art, Time

“Just as the development of earth art and installation art stemmed from the idea of taking art out of the galleries, the basis of my involvement with public art is a continuation of wall drawings. As soon as one does work on walls, the idea of using the whole wall follows. It means that the art is intimately involved with the architecture. It is available to be seen by everyone. It avoids the preciousness of gallery or museum installations. Also, since art is a vehicle for the transmission of ideas through form, the reproduction of the form only reinforces the concept. It is the idea that is being reproduced. Anyone who understands the work of art owns it. We all own the Mona Lisa.”

Sol LeWitt (1928–2007) American artist

Quotes of Sol Lewitt, "Sol LeWitt by Saul Ostrow," 2003

Art, Idea, Understanding, Drawing

“In writing about India, it is all too common to starkly ignore the Hindu voice. …. The only Hinduism which they like is museum Hinduism; any Hinduism that displays a will to survive is treated with the same horror that would be aroused if a mummy were to show signs of life.”

Koenraad Elst (1959) orientalist, writer

Source: 2000s, Decolonizing the Hindu Mind (2001), p. 73-74

Life

“All that we can say, looking at the avocado pit, is that whatever swallowed it must have been big. As big as those fossil skeletons staring out at us from behind the dusty glass of museum cases.”

Roger Swain (1949) American television personality

p. 14 https://books.google.com/books?id=UutGAAAAYAAJ&focus=searchwithinvolume&q=big Field Days: Journal of an Itinerant Biologist (1983)

“Right here I might offer a word of advice to the Ivory-billed Woodpecker, now the rarest bird on the North American continent and one that is going to come in for more and more attention. Keep away from bird lovers, fellows, or you'll be standing on a little wooden pedestal with a label containing your full name in Latin: Campephilus principalis. People will be filing past admiring your glossy blue-black feathers, your white stripes and patches, your nasal plumes in front of lores, your bright red crest and your beady yellow eyes. You'll be in the limelight, but you won't know it. I don't want to alarm you fellows, but there are only about twenty of you alive as I write these lines, but there are more than two hundred of you in American museums and in collections owned by Ivory-billed Woodpecker enthusiasts. Get it?”

Will Cuppy (1884–1949) American writer

And I Ought to Know
How to Become Extinct (1941)

People, Lovers, Bird, Past

“Writers don’t so much write about their own lives as create them, Barthes said; it’s an oddly modern idea. Bengalis, similarly, had to make their own history. They did it in houses, tenements, and in neighbourhoods connected by stifling alleys that are no wider than a small room … And this is why I feel, even now, that the most revealing places in Calcutta are not the museums or the great monuments … but the houses and lanes in which people live.”

Amit Chaudhuri (1962) contemporary Indian-English novelist

Calcutta: Two Years in The City (2013)

People, Feeling, History, Idea

“My own first love was biology. I spent a great part of my adolescence in the Natural History museum in London (and I still go to the Botanic Garden almost every day, and to the Zoo every Monday). The sense of diversity—of the wonder of innumerable forms of life—has always thrilled me beyond anything else.”

Oliver Sacks (1933–2015) British neurologist and writer

Personal correspondence, quoted in Stephen Jay Gould, "Cabinet Museums: Alive, Alive, O!", Dinosaur in a Haystack (Harmony, 1995), p. 245

Love, Life, History, Nature

“The art world as a whole, and museums in particular, belong to what has aptly been called the "consciousness industry."”

Hans Haacke (1936) conceptual political artist

1980s, "Museums, Managers of Consciousness," 1983

World, Art

“They took all the trees
And put them in a tree museum
And they charged all the people
A dollar and a half just to see 'em.”

Joni Mitchell (1943) Canadian musician

"Big Yellow Taxi"
Songs

People, Tree

“Somehow it doesn't seem long since I trudged in a picket-line; in the street here, and in the rain. A fairly muted demonstration against the Museum, which wasn't always in a mood for showing abstract paintings by Americans. It was fun I suppose-needless to say, the picketing produced no results. Yet a majority of the picketers are visible through their works at the moment, upstairs on the third floor, where it's warm and out of the rain. However, this is no time to celebrate in fact it's better if artists never celebrate. New abstract picket-lines are doubtless assembling, to protest the former picketers.”

George L.K. Morris (1905–1975) American painter and sculptor

Source: George L. K. Morris, Willem De Kooning, Alexander Calder, Fritz Glarner, Robert Motherwell, Stuart Davis. " What Abstract Art Means to Me http://www.jstor.org/stable/4058250," in: The Bulletin of the Museum of Modern Art, Vol. 18, No. 3, (Spring, 1951), pp. 2-15

Mood, Time, Painting

“Archeology is mostly a process of making associations between objects, and every discovery opens up possible resonances with things we already have. Sometimes, simply wandering through a museum or a site can open your eyes.”

Gregory Benford Artifact

Part 3, Chapter 1 (p. 107)
Artifact (1985)

“As the paintings the 'Night Watch' and the 'Staalmeesters' [famous works of Rembrandt ] are showed now it is clear to everyone that they have searched but, indeed messed with it, to enable these paintings to do what they can do [visually]. But you see, they did not find a good solution just because they appreciated the museum itself [a rather new building, then! ] higher than the paintings themselves. I told at the very first opening of the Rijksmuseum [1885] already everyone who wanted to listen to me: in this room, where the Night Watch' is hanging now, it can never comes to its full right…. There must be built for the 'Night Watch' and for the 'Staalmeesters' a separate room each…. [with] standing light and the paintings positioned on an easel or standard behind…. I just want to add here, that my own studio can serve as a very special model…. concerning the sizes and the lighting.”

Jozef Israëls (1824–1911) Dutch painter

Quote from Israëls' letter to the Dutch Minister S. van Houten, 4 Nov. 1894; as cited in In het Rijksmuseum, Jan Veth (translation from the original Dutch: Fons Heijnsbroek); Holkema's Boekhandel http://docplayer.nl/42488824-In-het-rijksmuseum-door-jan-veth-met-twee-brieven-van-jozef-israels-holkema-s-boekhandel-i-4-november-mdcccxciv.html, Amsterdam, 1894, p. 10 During Israel's whole artistic life Rembrandt was his inspiration and had a strong impact on his own painting-style Quotes of Jozef Israels, 1871 - 1900

Search, Light, Painting, Night

“Hans Haacke's "Visitor's Profile" encouraged visitors to interact with a computer by inputting personal information, which was then tabulated to output statistical data on the exhibition's audience. Such demographic research - as art - opened up a critical discourse, following Foucault and others, on the exclusivity of cultural institutions and their patrons, revealing the myth of public service as a thin veneer justifying the hierarchical values that reify extant social relations. Similarly, "Interactive Paper Systems" by Sonia Sheridan, engaged museum-goers in a creative exchange with the artist and 3M's first commercially available color photocopying machine, dissolving conventional artist-viewer-object relations. In "The Seventh Investigation (Art as Idea as Idea)" Joseph Kosuth utilized multiple forms of mass media and distribution (a billboard, an newspaper advertisement, a banner, and a museum installation) to question the conceptual and contextual boundaries between art, philosophy, commerce, pictures, and texts.”

Edward A. Shanken (1964) American art historian

Edward A. Shanken. " The House That Jack Built: Jack Burnham's Concept of "Software" as a Metaphor for Art http://www.artexetra.com/House.html" in Leonardo Electronic Almanac 6:10 (November, 1998)

Art, Color, Idea, Question

“Shall I tell you what I have seen in Venice? Right – here goes. Take a boat along the Seine to the Quai des Orfevres, or opposite the Tuileries [Paris] and you will see Venice. For the Museums, go to the Louvre, For Veronese, go to the Louvre,- but not for Tiepolo, whom I didn't know; only it is a bit dear at the price. No – that isn't true; it is very, very beautiful, when the weather is fine. The lagoon and San Marco – splendid; the Doges' palace, splendid. As for the rest, I'd rather have Saint German l'Auxerrois.”

Pierre-Auguste Renoir (1841–1919) French painter and sculptor

Source: 1880's, Renoir – his life and work, 1975, p. 159-160 : in a letter to madame Charpentier, Autumn 1881

Beauty, Weather

“Mahmood having reached Tahnesur before the Hindoos had time to take measures for its defence, the city was plundered, the idols broken, and the idol Jugsom was sent to Ghizny to be trodden under foot…Mahmood having refreshed his troops, and understanding that at some distance stood the rich city of Mutra [Mathura], consecrated to Krishn-Vasdew, whom the Hindoos venerate as an emanation of God, directed his march thither and entering it with little opposition from the troops of the Raja of Delhy, to whom it belonged, gave it up to plunder. He broke down or burned all the idols, and amassed a vast quantity of gold and silver, of which the idols were mostly composed. He would have destroyed the temples also, but he found the labour would have been excessive; while some say that he was averted from his purpose by their admirable beauty. He certainly extravagantly extolled the magnificence of the buildings and city in a letter to the governor of Ghizny, in which the following passage occurs: "There are here a thousand edifices as firm as the faith of the faithful; most of them of marble, besides innumerable temples; nor is it likely that this city has attained its present condition but at the expense of many millions of deenars, nor could such another be constructed under a period of two centuries."…The King tarried in Mutra 20 days; in which time the city suffered greatly from fire, beside the damage it sustained by being pillaged. At length he continued his march along the course of a stream on whose banks were seven strong fortifications, all of which fell in succession: there were also discovered some very ancient temples, which, according to the Hindoos, had existed for 4000 years. Having sacked these temples and forts, the troops were led against the fort of Munj…The King, on his return, ordered a magnificent mosque to be built of marble and granite, of such beauty as struck every beholder with astonishment, and furnished it with rich carpets, and with candelabras and other ornaments of silver and gold. This mosque was universally known by the name of the Celestial Bride. In its neighbourhood the King founded an university, supplied with a vast collection of curious books in various languages. It contained also a museum of natural curiosities. For the maintenance of this establishment he appropriated a large sum of money, besides a sufficient fund for the maintenance of the students, and proper persons to instruct youth in the arts and sciences…The King, in the year AH 410 (AD 1019), caused an account of his exploits to be written and sent to the Caliph, who ordered it to be read to the people of Bagdad, making a great festival upon the occasion, expressive of his joy at the propagation of the faith.”

Mahmud of Ghazni (971–1030) Sultan of Ghazni

Tarikh-i-Firishta, translated by John Briggs under the title History of the Rise of the Mahomedan Power in India, first published in 1829, New Delhi Reprint 1981, Vol. I, pp. 27-37.
Quotes from Muslim medieval histories

Money, God, People, Books

“Legenda Aurea. To think that there's no Catholic edition of this most Catholic book!… Richard Benz sees it as epic and myth of the Middle Ages, exact parallel to the Gothic cathedrals. Sunk into oblivion with the epoch, rediscovered through the history of art, in the countless painters inspired by the Legend. Wonderful, costly and beautiful - but belonging utterly to the past, monument, museum: venerable, interesting, imposing - tout à fait passé.”

Ida Friederike Görres (1901–1971) Austrian writer and noble

Broken Lights Diaries 1957-59

Books, Age, Beauty, Art

“… Museums are managers of consciousness. They give us an interpretation of history, of how to view the world and locate ourselves in it. They are, if you want to put it in positive terms, great educational institutions. If you want to put it in negative terms, they are propaganda machines. They're both. This is something usually not acknowledged and there's probably a good reason why: because if this were in one's consciousness, then one would be a bit more immune to brainwashing — assuming brainwashing is the intent.”

Hans Haacke (1936) conceptual political artist

1990s, Portraits: Talking with Artists at the Met, the Modern, the Louvre, and Elsewhere, 1998

World, Education, History

“Microsoft has had clear competitors in the past. It’s a good thing we have museums to document that.”

Bill Gates (1955) American business magnate and philanthropist

Speech at the Computer History Museum, as quoted in InfoWorld magazine (October 2001) http://www.infoworld.com/article/04/10/01/HNgatestalksmuseum_1.html 2000s

Past

“Is a museum
Peace? I asked. Am I the keeper
Of the heart's relics, blowing the dust
In my own eyes? I am a man;
I never wanted the drab role
Life assigned me, an actor playing
To the past's audience upon a stage
Of earth and stone; the absurd label
Of birth, of race hanging askew
About my shoulders. I was in prison
Until you came; your voice was a key
Turning in the enormous lock
Of hopelessness. Did the door open
To let me out or yourselves in?”

R.S. Thomas (1913–2000) Welsh poet

"A Welsh Testament"
Tares (1961)

Life, Peace, Birth, Past

“Snow had fallen and from the museum [in Pittsburgh, The ] you had a beautiful view of a valley with a railway, through some sheds, etc. But I could not finish it, and today, Sunday, I went back there again, but then the snow was already so far away that I could not make anything of it any more. It is a pity. Otherwise I could have sold something. [The painting was sold to the Stedelijk Museum Amsterdam in 1934] (translation from the original Dutch, Fons Heijnsbroek)”

George Hendrik Breitner (1857–1923) Dutch painter and photographer

version in original Dutch (citaat van Breitner's brief, in het Nederlands:) Er was namelijk sneeuw gevallen en uit het museum [in Pittsburgh, Breitner nam deel aan een jury en maakte vanuit een raam aan de achterzijde van het Carnegie Institute enkele schetsen en begon aan een schilderij] had men een prachtig gezicht op een dal met een spoorweg, door wat loodsen, enz. Maar ik kon 't niet afkrijgen, en vandaag, zondag, was ik er weer heengegaan, maar toen was de sneeuw al zoo ver dat ik [er] niets meer van kon maken. Het is wel jammer. Anders had ik nog wat kunnen verkoopen misschien. [Het schilderij is in 1934 verkocht aan het Stedelijk museum Amsterdam.]
In Breitner' letter to his wife, 1909, from Pittsburgh; as cited in George Hendrik Breitner in Amsterdam, J. F. Heijbroek, Erik Schmitz; uitgeverij THOTH, Bussum, 2014, p. 22
Breitner took part in an art-jury in Pittsburgh in 1909. He started to make some sketches from a window at the back-side of the Carnegie Institute and later the painting]
1900 - 1923

Beauty, Painting

“During my stay in Germany in 1922 I collaborated with the writer Ehrenburg, on the Magazine 'Veshch' (Gegenstand) [= Object] (first pro-Soviet edition). [I] Took part in organizing the First Russian Art Exhibition 1922-23 in Berlin and Amsterdam. My works were purchased by European and American collectors and museums. The museum in New York acquired a 'Proun' from the Soviet Exhibition. At this time, in 1923, I contracted pulmonary tuberculosis.”

El Lissitsky (1890–1941) Soviet artist, designer, photographer, teacher, typographer and architect

1926 - 1941, Autobiography of the artist' (1941)

Art, Time, Parting

“The time has probably come to admit that the notion of an avant-garde is no longer useful in discussing contemporary literature. How can there be an avant-garde without a mainstream? Avant-garde de quoi? one must ask. Establishment institutions — universities, museums, foundations, commercial galleries, even the state — have embraced the idea of experimental art for so long that the avant-garde is now a safely domesticated concept, just another traditional style.”

Dana Gioia (1950) American writer

"Notes Toward a New Bohemia," http://www.danagioia.net/essays/ebohemia.htm transcript of a 1993 talk at the Poet's House, New York City, published in Poetry Flash (November/December 1993) and revised for publication in Grantmakers in the Arts (Spring 1994) Essays

Art, Literature, Idea, Universe

“There is current in our land (and several European countries) at this moment a kind of nit-picking worship of historic im-po-tence. They say, they say, that Bach must not be interpreted and that he must have no emotion, his notes speak for themselves. You want know what that is? Pure unadulterated rot! Bach has the red blood. He has the communion with the people! He has all of this amazing spirit and imagine that you could put all the music on one side of the agenda with his great interpretation and great feeling and put the greatest man of all right up on top of a dusty shelf underneath some glass case in a museum and say that he must not be interpreted! They're full of you know what and they are so untalented that they had to hide behind this thing 'cause they couldn't get in the House of Music any other way!”

Virgil Fox (1912–1980) American musician

Heavy Organ (introduction to the Bach Toccata and Fugue in Dm, BWV 565)

People, Music, Way, Feeling

“The streets of Paris, with their shops of old furniture, etchings, and works of art, are a veritable museum, far less tiring than official museums, and from which one imbibes just as much as one can.”

Auguste Rodin (1840–1917) French sculptor

Source: Rodin : the man and his art, with leaves from his notebook, 1917, p. 105

Art

“I was just at the newly opened Creationist Museum in Kentucky…. And they have this exhibit of a giant dinosaur…with a saddle on its back. Because the world is only 5000 years old, so man and the dinosaurs had to coexist, and, of course, we rode them. A theory I thought laughable at the age of eight when I saw it on THE FLINTSTONES!”

Bill Maher (1956) American stand-up comedian

The Decider (21 July 2007)

Age, World

“My definition of art has always been the same. It is about freedom of expression, a new way of communication. It is never about exhibiting in museums or about hanging it on the wall. Art should live in the heart of the people. Ordinary people should have the same ability to understand art as anybody else. I don’t think art is elite or mysterious. I don’t think anybody can separate art from politics. The intention to separate art from politics is itself a very political intention.”

Ai Weiwei (1957) Chinese concept artist

2010-, Ai Weiwei: ‘Shame on Me.’, 2011

People, Art, Way, Communication

“It's bad to use words like 'genius' unless you are talking about the late Jean-Michel Basquiat, the black Chatterton of the 80s who, during a picturesque career as sexual hustler, addict and juvenile art-star, made a superficial mark on the cultural surface by folding the conventions of street graffiti into those of art brut before killing himself with an overdose at the age of twenty-seven. The first stage of Basquiat's fate, in the mid-80s, was to be effusively welcomed by an art industry so trivialized by fashion and blinded by money that it couldn't tell a scribble from a Leonardo. Its second stage was to be dropped by the same audience, when the novelty of his work wore off. The third was an attempt at apotheosis four years after his death, with a large retrospective at the Whitney Museum designed to sanitise his short, frantic life and position him as a kind of all-purpose, inflatable martyr-figure, thus restoring the dollar value of his oeuvre in a time of collapsing prices for American contemporary art. One contributor to the catalogue proclaimed that "Jean remains wrapped in the silent purple toga of immortality"; another opined that "he is as close to Goya as American painting has ever produced." A third, not to be outdone, extolled Basquiat's "punishing regime of self-abuse" as part of "the disciplines imposed by the principle of inverse ascetism to which he was so resolutely committed."”

Robert Hughes (1938–2012) Australian critic, historian, writer

These disciplines of inverse ascetism, one sees, mean shooting smack until you drop dead.
Page 195
Culture of Complaint (1993)

Life, Death, Money, Fate

“Museums are my cathedrals. Artifacts in glass cases are my sacred relics. I truly believe I have felt something close to religious fervor inside some of these buildings. I even feel that I have experienced the occasional transcendent moment inside a museum.”

Guy P. Harrison book 50 reasons people give for believing in a god

50 reasons people give for believing in a god (2008)

Feeling

“Who knows if these very pictures, now painted for maharajas, will not find their way to the museums one day.”

Raja Ravi Varma (1848–1906) Indian painter

Quoted in Quotations by 60 Greatest Indians, 27 November 2013, Dhirubhai Ambani Institute of Information and Communication Technology http://resourcecentre.daiict.ac.in/eresources/iresources/quotations.html,

Way, Painting

“The term "ideographic" has been used not only by those who espouse its basic meaning but also by others who do not necessarily accept the concept but use the term out of mere force of habit as an established popular designation for Chinese characters. I find, to my chagrin, that in my previous publications I have been guilty of precisely this concession to popular usage without being aware of the damage it can cause. As a repentant sinner I pledge to swear off this hallucinogen. I hope others will join in consigning the term to the Museum of Mythological Memorabilia along with unicorn horns and phoenix feathers.”

John DeFrancis book The Chinese Language: Fact and Fantasy

The Chinese Language: Fact and Fantasy (1984, p. 148) http://www.pinyin.info/readings/texts/ideographic_myth.html The Chinese Language: Fact and Fantasy (1984)

Hope

“People like to grab stuff, hold things in their hands and make things happen. Children’s museums are ideal for these kinds of things. There’s nothing more fun, to me.”

Bill Nye (1955) American science educator, comedian, television host, actor, writer, scientist and former mechanical engineer

[NewsBank, Mark Bennett, Bill Nye still rocking science - TV personality making weekend appearance in town to help open Children's Museum, The Tribune-Star, Terre Haute, Indiana, September 24, 2010]

Children, People

Quotes about museum page 2

Quotes about museum
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