Museums are tombs, and it looks like everything is turning into a museum.

I am for an art that takes into account the direct effect of the elements as they exist from day to day apart from representation.

Artists themselves are not confined, but their output is.

Art's development should be dialectical and not metaphysical.

Nature is never finished.

Mistakes and dead-ends often mean more to these artists than any proven problem.

Language operates between literal and metaphorical signification.

An emotion is suggested and demolished in one glance by certain words.

When a finished work of 20th century sculpture is placed in an 18th century garden, it is absorbed by the ideal representation of the past, thus reinforcing political and social values that are no longer with us.

Questions about form seem as hopelessly inadequate as questions about content.

A work of art when placed in a gallery loses its charge, and becomes a portable object or surface disengaged from the outside world.

History is a facsimile of events held together by finally biographical information.

Artists are expected to fit into fraudulent categories.

Parks are idealizations of nature, but nature in fact is not a condition of the ideal.

Objects in a park suggest static repose rather than any ongoing dialectic. Parks are finished landscapes for finished art .

A vacant white room with lights is still a submission to the neutral. Works of art seen in such spaces seem to be going through a kind of esthetic convalescence.

Art history is less explosive than the rest of history, so it sinks faster into the pulverized regions of time.

Visiting a museum is a matter of going from void to void.

Language thus becomes monumental because of the mutations of advertising.

The museum spreads its surfaces everywhere, and becomes an untitled collection of generalizations that mobilize the eye.

History is representational, while time is abstract; both of these artifices may be found in museums, where they span everybody's own vacancy.

The museums and parks are graveyards above the ground- congealed memories of the past that act as a pretext for reality.

Nature does not proceed in a straight line, it is rather a sprawling development.

Cultural confinement takes place when a curator imposes his own limits on an art exhibition, rather than asking an artist to set his limits.

Words for mental processes are all derived from physical things.

Instead of causing us to remember the past like the old monuments, the new monuments seem to cause us to forget the future.

Abstraction is everybody's zero but nobody's nought.

Some artists imagine they've got a hold on this apparatus, which in fact has got a hold of them. As a result, they end up supporting a cultural prison that is out of their control.

Painting, sculpture and architecture are finished, but the art habit continues.

Language should find itself in the physical world, and not end up locked in an idea in somebody's head.

Language should be an ever developing procedure and not an isolated occurrence.

Banal words function as a feeble phenomena that fall into their own mental bogs of meaning.

From the top of the quarry cliffs, one could see the New Jersey suburbs bordered by the New York City skyline.

Museums are tombs, and it looks like everything is turning into a museum.

The scenic ideals that surround even our national parks are carriers of a nostalgia for heavenly bliss and eternal calmness.

Lets face it the human eye is clumsy sloppy and unintelligible when compared to the cameras eye.

It is veneer, rouge, aestheticism, art museums, new theaters, etc. that make America impotent. The good things are football, kindness, and jazz bands.

A great department store, easily reached, open at all hours, is more like a good museum of art than any of the museums we have yet established.

I think there is a new awareness in this 21st century that design is as important to where and how we live as it is for museums, concert halls and civic buildings.

I went to the museum where they had all the heads and arms from the statues that are in all the other museums.

As for pictures and museums, that don't trouble me. The worst of going abroad is that you've always got to look at things of that sort. To have to do it at home would be beyond a joke.

The number of great museums and nonprofits versus the number of corporate headquarters is incredibly out of whack.

I love doing normal things - movies, shopping, going out with friends, writing, reading, taking hot bubble baths - that's a big one for relaxation. I also love to go to art and history museums.

I open events for museums and I do charity work and photography.

Murals in restaurants are on a par with the food in museums.

Since then I have held many jobs at museums in Colorado and Wyoming. I have also taught summer courses at the University of Colorado.

There are wonderful museums with lots of photographs of 1920's musicals.

When I was growing up, my mother would take me to plays and museums, and we'd talk about life. Those times helped shape who I became.

Instead of stubbornly attempting to use surrealism for purposes of subversion, it is necessary to try to make of surrealism something as solid, complete and classic as the works of museums.