欧宝娱乐

“Do not fall in love with people like me.
I will take you to museums, and parks, and monuments, and kiss you in every beautiful place, so that you can never go back to them without tasting me like blood in your mouth.
I will destroy you in the most beautiful way possible. And when I leave you will finally understand, why storms are named after people.”
― Caitlyn Siehl, Literary Sexts: A Collection of Short & Sexy Love Poems

“When we want mood experiences, we go to concerts or museums. When we want meaningful emotional experience, we go to the storyteller.”
― Robert McKee, Story: Substance, Structure, Style, and the Principles of Screenwriting

“I've become like one of those people I hate, the sort who go to the museum and, instead of looking at the magnificent Brueghel, take a picture of it, reducing it from art to proof. It's not "Look what Brueghel did, painted this masterpiece" but "Look what I did, went to Rotterdam and stood in front of a Brueghel painting!”
― David Sedaris, Let's Explore Diabetes with Owls: Essays, Etc.

“We passed hieroglyphic scrolls, gold jewelry, sarcophagi, statues of pharaohs, and huge chunks of limestone. Why would someone display a rock? Aren't there enough of those in the world?”
― Rick Riordan, The Red Pyramid

“We used to build temples, and museums are about as close as secular society dares to go in facing up to the idea that a good building can change your life (and a bad one ruin it).”
― Alain de Botton

“Stop looking at the walls, look out the window.”
― Karl Pilkington, The Ricky Gervais Show - First, Second and Third Seasons

“I've never been somewhere I belonged, but there are places where I think I could be happy. Like San Francisco. Well, do art museums count? Because I feel like I belong in them.”
― Heather Demetrios, I'll Meet You There

“We don't need more museums that try to construct the historical narratives of a society, community, team, nation, state, tribe, company, or species. We all know that the ordinary, everyday stories of individuals are riches, more humane, and much more joyful.”
― Orhan Pamuk, The Innocence of Objects

“Museums have no political power, but they do have the possibility of influencing the political process. This is a complete change from their role in the early days of collecting and hoarding the world to one of using the collections as an archive for a changing world. This role is not merely scientifically important, but it is also a cultural necessity.”
― Richard Fortey, Dry Store Room No. 1: The Secret Life of the Natural History Museum

“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.”
― Richard Fortey, Dry Store Room No. 1: The Secret Life of the Natural History Museum

“Museum architectural search committees have invariably included the Kimbell in their international scouting tours of exemplary art galleries (a practice pioneered by Velma Kimbell, the founder鈥檚 widow, in 1964). Those groups no doubt respond to the Kimbell with suitable reverence, but given the buildings they later commissioned, many post-Bilbao museum patrons obviously wanted something quite different. The disparity between Kahn鈥檚 museums and recent examples of that genre parallels the discrepancy he saw between postwar Modernism and ancient Classicism: 鈥淥ur stuff looks tinny compared to it.鈥� At a time when commercial values are systematically corrupting the museum - one of civilized society鈥檚 most elevating experiences - the example of Kahn, among the most courageous and successful architectural reformers of all time, seems more relevant and cautionary than ever.”
― Martin Filler, Makers of Modern Architecture: From Frank Lloyd Wright to Frank Gehry (New York Review Books

“Museums are secular churches . . . and to steal there is blasphemous.”
― Michael Finkel, The Art Thief: A True Story of Love, Crime, and a Dangerous Obsession

“The first step in any encounter with art is to do nothing, to just watch, giving your eye a chance to absorb all that's there. We shouldn't think "This is good," or "This is bad," or "This is a Baroque picture which means X, Y, Z." Ideally, for the first minute we shouldn't think at all. Art needs time to perform its work on us.”
― Patrick Bringley, All the Beauty in the World: The Metropolitan Museum of Art and Me

“When asked why he wrote the book, Freed said:
In the 1980s, I joined the small group of anthropologists who were writing about the history of their subject. I believed that I could add some balance to American anthropological history, and that the best place to start was with museums鈥�
where the story began. The more I delved into the archives, the more I was fascinated. I was hooked.”
― Stanley A. Freed, Anthropology Unmasked: Museums, Science, and Politics in New York City

“For over a century, an evolving microcosm of Anthropology鈥檚 turbulent history has hidden behind the staid fa莽ade of the American Museum of Natural History. From an insider鈥檚 perspective, the well-known ethnologist Stan Freed engagingly introduces us to an amazing cast of explorers, eccentrics, idealists, pranksters and forbidding intellectual - an unlikely mix that played a key role in establishing the science of Anthropology as we know it today.”
― Ian Tattersall

“Survival is a funny business, too. A losing game. Literally. They love us, and we lose them all. The ones who made us, the ones who gave us, the ones who sat down and played with us, the ones who held us, or just laid eyes on us. The ones who bought, traded, and sold us. Cleaned us, redeemed us, brought back the sheen on us. Loved us. Learned everything there is to know about us.”
― Christine Coulson, Metropolitan Stories

“Brant had said my embellishing constituted a disservice to history and its players. But I believed the opposite. Marooning them on the forlorn island of Only What We Know, a place whose boundaries were determined by the scant information provided by a handful of surviving documents, seemed the greater disservice. I paid homage with my imagination, and hoped I might get visitors to do the same.”
― Leah Hager Cohen, House Lights

“When a young employee at the Anne Fank House tried to wear his yarmulke to work, his employers told him to hide it under a baseball cap. The museum's gal was "neutrality," one spokesperson explained to the British newspaper Daily Mail, and a live Jew in a yarmulke might "interfere" with the museum's "independent position." The museum finally relented after deliberated for four months, which seems like a rather long time for the Anne Frank House to ponder whether it was a good idea to force a Jew into hiding.”
― Dara Horn, People Love Dead Jews: Reports from a Haunted Present

“Would you rather have a 100 percent chance nothing happens to your Stradivarius, or would you rather have music coming from your Stradivarius? You can鈥檛 have both.”
― Patrick Bringley

“One day in the future someone will look at this period in history and wonder why there were so many people completely insane and self-destructing themselves. Why were so many filled with hatred, jealousy and resentment. Why were so many fighting for ideals that have no value, like flag colors, skin color, teams and objects. They will probably create museums to contemplate the insanity of humanity and those museums will be filled with horror and ruins, in the same way we now look at roman coliseums. And they will then treasure the truth more than anything, and every book created until then will be seen as nothing more than a memory that persisted in time.”
― Dan Desmarques

“Our lives are devoted to our absence鈥攖o the idea that no trace of ourselves should be left in our work.”
― Christine Coulson, Metropolitan Stories

“Melvin thought about the museum inhaling so much of the world鈥攁ll that history, all that spiritual juice, all the passions and laments of each visitor鈥攚ithout ever really exhaling.”
― Christine Coulson, Metropolitan Stories

“Some curators are great scholars, others great exhibition makers, still others, superb collectors. It is rare to have a curator like Peter, who excels at all three.”
― Christine Coulson, Metropolitan Stories

“Everyone lied about the dinosaurs in the museums: to date they have misled us, or possibly they just do not know 鈥� but there you will find, in the corridors, or with loose bones collected - or assembled - remnants of dragons.

Yes, many of them breathed fire and flew the skies, dragons were everywhere, and now, hidden in plain sight: those which we now call dinosaurs.

Fossils, reptiles, serpents, exotic configurations, archived, displayed: a tangle of spine without the dressing, and, without the truth.”
― Gabriel Brunsdon, AZLANDER - Finding Self: Second Guesses

“There are two dragons inside of you. One hoards knowledge and the other hoards trinkets. They're both very excited when you bring them to a museum.”
― Anonymous

“Why do you play such dreary music
on Saturday afternoon, when tired
mortally tired I long for a little
reminder of immortal energy?

All
week long while I trudge fatiguingly
from desk to desk in the museum
you spill your miracles of Grieg
and Honegger on shut-ins.

Am I not
shut in too, and after a week
of work don鈥檛 I deserve Prokofieff?
Well, I have my beautiful de Kooning
to aspire to. I think it has an orange
bed in it, more than the ear can hold.”
― Frank O'Hara, Lunch Poems

“Everything you want to do in the presence of a compelling [art] piece is forbidden in a museum . . .”
― Michael Finkel, The Art Thief: A True Story of Love, Crime, and a Dangerous Obsession

“Protecting a museum can feel paradoxical, because its mission isn't to conceal valuables but to SHARE, in a way that makes you feel as close to a piece as possible, unencumbered by any security apparatus. Permanently ending nearly all museum crime would be easy: lock the works in vaults, and hire armed guards. Of course, this would also mean the end of museums. They'd now be called banks.”
― Michael Finkel, The Art Thief: A True Story of Love, Crime, and a Dangerous Obsession

“One of the wider purposes of our museum is to make life better worth living- not by adding luster to riches and creating pleasurable reactions to the avowedly aesthetic, but by encouraging all to discover possibilities of agreeable emotions in the contemplation of things.”
― John Cotton Dana

“Art should be studied, not worshipped. Artworks should be preserved that they may help us, not that they may amaze and confound us. Above all, we should study them with the purpose of learning from them.”
― John Cotton Dana