museums

Stop looking at the walls, look out the window.

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__here the story began. The more I delved into the archives, the more I was fascinated. I was hooked.

Museum education has the power and the responsibility to do the challenging inner work of tackling tough topics and turning them into teachable moments.

Tough topics are only tough for those who don't want to approach conversation, who don't like problematizing the status quo and nuancing the narrative.

Education is the lifeblood of museums.

Our universities and museums are respected around the country.

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

I absorbed as many Impressionist paintings as I could, in Parisian museums and in many museums in the United States and in books, looking for clues to architecture, clothing, settings.

Museums are like sports stadiums, hotels and hospitals: they are in the category of captive-audience dining.

If I walked down by different streets to the Jardin du Luxembourg in the afternoon I could walk through the gardens and then go to the Musée du Luxembourg where the great paintings were that have now mostly been transferred to the Louvre and the Jeu de Paume. I went there nearly every day for the Cézannes and to see the Manets and the Monets and the other Impressionists that I had first come to know about in the Art Institute at Chicago. I was learning something from the painting of Cézanne that made writing simple true sentences far from enough to make the stories have the dimensions that I was trying to put in them. I was learning very much from him but I was not articulate enough to explain it to anyone. Besides it was a secret. But if the light was gone in the Luxembourg I would walk up through the gardens and stop in at the studio apartment where Gertrude Stein lived at 27 rue de Fleurus.

Extract and expel implicit biases from your work life. Don't taint our visitors with your bias and views. Allow them to form their own conclusions where it's developmentally appropriate.

In the spirit of being a reflective practitioner of ourselves we must notice your own behavior as an educator and realize how it influences other. Recognize your privileges: race, gender, ability, career, citizenship, language is all privilege. Imagine how you feel in the visitors shoes and adjust to best help them process and contextualize.

This is the greatest consolation in life. In poetically well-built museums, formed from the heart's compulsions, we are consoled not by finding in them old objects that we love, but by losing all sense of Time.

We know we are a species obsessed with itself and its own past and origins. We know we are capable of removing from the sanctuary of the earth shards and fragments, and gently placing them in museums. Great museums in great cities__he hallmarks of civilisation.

In the future, churches, mosques, synagogues and temples, all of them will be museums! The intellectual progression of humanity will necessitate such a drastic and dramatic change in the human history!

He had been haunted his whole life by a mildcase of claustrophobia__he vestige of a childhood incident he had never quite overcome.Langdon__ aversion to closed spaces was by no means debilitating, but it had always frustrated him.It manifested itself in subtle ways. He avoided enclosed sports like racquetball or squash, and he hadgladly paid a small fortune for his airy, high-ceilinged Victorian home even though economical facultyhousing was readily available. Langdon had often suspected his attraction to the art world as a youngboy sprang from his love of museums_ wide open spaces.

After all, isn't the purpose of the novel, or of a museum, for that matter, to relate our memories with such sincerity as to transform individual happiness into a happiness all can share?

When we want mood experiences, we go to concerts or museums. When we want meaningful emotional experience, we go to the storyteller.