Museum in sentence

379 examples of Museum in a sentence

So you start seeing here that the aesthetics that are so important to a museum collection like MoMA's are kept alive also by the selection of these games.

It turned out that giving the planes to the museum was worth much more than the debt, so for five years, six years, I only had to pay one third income tax.

Every old curator who'd been in that museum had seen this wonderful specimen, put their hand in the jar, pulled it out and thought, "Wow, look at that," plop, dropped it back in the jar, contaminating this specimen.

When I began recording over four decades ago, I could record for 10 hours and capture one hour of usable material, good enough for an album or a film soundtrack or a museum installation.

This is a picture of Korean traditional bows taken from a museum, and see how my bow resembles them.

It's a very popular museum now, and I created a big monument for the government.

And Gallery One is an interesting project because it started with this massive, $350 million expansion for the Cleveland Museum of Art, and we actually brought in this piece specifically to grow new capacity, new audiences, at the same time that the museum itself is growing.

It's an algorithm that actually allows you to browse the actual museum's collection using facial recognition.

And so you can imagine that, as people are performing inside of the museum itself, you get this sense of this emotional connection, this way in which our face connects with the thousands and tens of thousands of years.

So in this wall, the collections wall, you can actually see all 3,000 artworks all at the same time, and you can actually author your own individual walking tours of the museum, so you can share them, and someone can take a tour with the museum director or a tour with their little cousin.

So we started in 2006 as part of a team with Thinc Design to create the original master plan for the museum, and then we've done all the media design both for the museum and the memorial and then the media production.

So the memorial opened in 2011, and the museum's going to open next year in 2014.

We can't have just a historian or a curator narrating objectively in the third person about an event like that, when you have the witnesses to history who are going to make their way through the actual museum itself.

And so we started imagining the museum, along with the creative team at the museum and the curators, thinking about how the first voice that you would hear inside the museum would actually be of other visitors.

And as you leave that storytelling moment understanding about 9/11, we then turn the museum back into a moment of listening and actually talk to the individual visitors and ask them their own experiences about 9/11.

JB: And so as people make their way out of the museum, reflecting on the experience, reflecting on their own thoughts of it, they then move into the actual space of the memorial itself, because they've gone back up to grade, and we actually got involved in the memorial after we'd done the museum for a few years.

I think of new cities like Dubai or ancient cities like Rome with Zaha Hadid's incredible MAXXI museum, or like right here in New York with the High Line, a city which has been so much influenced by the development of this.

With the millions of visitors that come every year, it's actually one of the best places to try to invent the museum of the future.

Hundreds of these brightly-colored sculptures decorated the park for a number of weeks, and unlike work that's exhibited in a more neutral space, like on the walls of a gallery or a museum, this was work that was really in dialogue with this place, and in a lot of ways, The Gates was really a celebration of Frederick Olmsted's incredible design.

I really hope that others, all of you, visiting objects in the museum, and taking them home and finding them for yourselves, will allow those objects to flourish in your imaginative lives.

Bernard Tschumi at Columbia University has finished using this in a design for a museum of African art.

And the museum noticed that people were spending a lot of time with this exhibit, and a researcher from a science education center in Australia decided to study this exhibit and try to figure out what was going on.

And a museum, a science museum.

And I was taken by the conceptuality of this kind of digital print that sits in a museum in Charleston.

No museum or gallery in the United States, except for the New York gallery that carries Botero's work, has dared to show the paintings because the theme is the Abu Ghraib prison.

So a chaotic shuffle ensued as this bunch of strangers tied together with yellow ropes wearing "Being Slime Mold" t-shirts wandered through the museum park.

You really have power in that people usually tend to know about your exhibition or see the exhibitions, and that is power because in a design museum I wouldn't have as many visitors.

But what I've been trying to do is something that the curators at MoMA in my department have been doing ever since the museum was founded in 1929, which is to try and see what's going on in the world and try to use that authority in order to make things better.

On the occasion of my first visit, we toured his house and we saw hundreds of works of museum quality, and then we paused in front of a closed door and Dr. Robicsek said, with obvious pride, "Now for the piece De resistance."

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