Art Gallery At The Powerhouse Museum And The First Emperor Of New South Wales

Positioned alongside Central Park in the heart of New York City, The Metropolitan Museum of Art is one of the largest and most influential art museums in the world. The Met houses an extensive collection of curated works that spans throughout various time periods and different cultures. The context of museum, especially one as influential as the Met, inherently predisposes its visitors to a certain set of understandings that subtly influence how they interpret and ultimately construct meanings about each individual object within the museum. Brent Plate in Religion, Art, and Visual Culture argues that “objects obtain different meanings in different locations and historical settings.”An object placed on display behind a glass case inside a museum would hold a vastly different meaning if it was put on sale by a street vendor, like the ones who set up their tables in close proximity to the Met. The different meanings that objects are able to obtain is attributed to the relationships that are established between the object itself and the environment that surrounds it. These relationships often involve the kind of audience that a museum attracts, where the work is exhibited, and how the exhibits within a museum is planned out. Museums subsequently have the ability to control how these relationships are established which influences the way a viewer is able to construct meaning. When a visitor observes an object on display at the Met, they instinctively construct a certain set of

Another aspect that I found to be very interesting was the way in which each of the museums offered different multimedia formats to facilitate the visitor’s experience with the artwork in display. I noticed that both museums offered applications for smartphones and tablets, free of charge, to assist the visitors with getting the most possible out of the museum. Visiting a museum can be a very distracting task because there is so much to see and without a plan or a navigating system that helps you make your way towards the museum, it can be hard to gain something from your visit. Both apps are accessible to most people and very easy to navigate through. These apps included audio guides, exhibition information, calendars, events and so on. However, I noticed

After the Second World War, there was an increase of art markets. Museums became more professional and collectors stopped asserting themselves too personally. In the early - twentieth century, though some collection museums like the flick collection in New York maintained personal collections as they had originally been installed. Collection museums through their installations and objects display the beliefs, choices and values of their eras, and they turned into museums gradually. For the purpose of this essay, we are going to compare and contrast these two museums, the experience of viewing art in each setting and also highlight the advantages and disadvantages of both.

Museums and libraries share many functions, goals, and have similar technological needs. They share the history of collecting and preserving our cultural heritage and have recognizably similar features. This makes the comparison between the Broad Museum and the Exeter Library very interesting. Even though both buildings are from different centuries, they have some similarities and differences.

Museums are an amazing place that is constantly evolving in order to expand knowledge and cultural inclusivity. For example, museums are putting extra effort to feature culturally diverse exhibitions such as works from Native Americans. Gillian Flynn and Deborah Hull-Walski, the authors of the article, elaborate museums are incorporating new cultural items; however, these items need extra energy when taking care of the items. Typically, museums have traditional habits of how to handle objects; however, nearly all of these works were western-themed works. Having culturally inclusive exhibits is incredible, but it means that it must adopt new modern standards of care. This article addresses that there needs to be a change in how modern museums

Subsequent to the establishment of the modern museum, collections ceased to be used as markers of wealth and status. Rather, collections gained value as educational tools at the disposal of the public. Accompanying this newfound emphasis on the educational role of collections, came innovative ideas on how to arrange the objects in museum collections, in order to assist in the diffusion of knowledge. Essentially, museums drew on earlier notions of specialization, to further imposed categorical boundaries on collections. These boundaries, which determine the scope of a museum’s collection, are specific to the individual mission of a museum. Furthermore, the introduction of systems such as classifications, taxonomies and typologies in the 19th century saw the objects in museum collections organised based on shared external characteristics, rather than notions of internal symbolism. In modern museums, objects are generally classified by their physical attributes (size, shape, colour, material, etc.), provenance, chronology, function and context. The sorting of objects into such categories has become known as ‘Systematic Collecting’. Today, systematic collecting is the standard by which all other collecting activities are typically judged. Thus, by introducing a systematic approach to collecting, the modern museum has played a pivotal role in legitimising and institutionalising the joint concepts of collecting and

Because of these connections, it is vital to study or at least garner basic knowledge of other cultures. A key factor to this cultural integration is the establishment of museums for ease of access to the general public. Museums are highly based on visuals and it is very important for museums to present themselves well. The SAM and the Burke museum utilizes their displays very differently, but both focus on the expression of different cultures and do so successfully; however, both can learn from each other and present a more holistic display.

Value is defined as “a standard of judgment by which people decide on desirable goals and outcomes” (Newman, 2014, p. 36). Society, as a reflection of ideals and values, has prioritized the preservation and display of art as a formulaic and bland experience that is void of any external influence. In this particular case, the social organization of the Art Gallery in New South Wales has challenged these norms and expectations concerning the presentation of artwork. Through the analysis of this article, the reader can gain an understanding of the many factors that surround a museum’s relation to societal ideals, as well as the Ang’s particular case study. Though the museum made an attempt to exhibit and praise diversity in cultural representation and art, it also ultimately fell short of the goal. Instead, in an attempt to retain its root audience, the museum chose against displaying objects of civilizational significance that would be best received by culturally adverse groups, in favor of displaying objects judged on artistic excellence. Perhaps by truly capturing the cultural nuances surrounding a foreign culture’s art forms, one could best gain an understanding for why we often choose a sterile environment in which to display the best of society, a

Try, if you would, to recall your last visit to a museum or other similar institution. Did you immediately accept the information presented to you as fact? Did you stop to think about how a particular exhibit represents a culture and whether or not it was accurate? Since their origin, museums were created for the purpose of preservation and interpretation of the material culture they exhibit, and have been the most widely accepted method for the dissemination of information pertaining to other cultures. That being said, there is an increasing amount of discourse today questioning the value of museums and the ways in which their exhibition of material culture actually serves to devalue or misrepresent their cultures of origin. For this research paper, I have decided to focus in the collections of material culture present in the Beloit College Logan Museum of Anthropology and the Smithsonian Museum. First, I begin by sharing what I have learned about the history surrounding the origins of museums. Next, I identify the ways in which museums obscure and misrepresent the cultures they display through their exhibits either intentionally or otherwise. Finally, I attempt to utilize what I have learned in order to compare the two institutions and identify the ways in which they have taken steps to keep up with modern museological and discourse.

Never before have I seen a museum as grand as the Metropolitan Museum of Art in New York. From its architecture to its massive art collection, The Met has a little bit of everything and one is sure to find something that captures his or her interest. Considering that The Met is the United States' largest art museum, it is easy to get lost within its many corridors and wings. My visit to The Met took place during the last week of July. Despite the almost unbearable heat and humidity that hung in the air, visiting museums under these climate conditions is a welcome respite from a suffocating, yet bright summer afternoon.

ultural institutions, like the cultures that foster them, evolve over time. Zoos & Aquariums, as well as museums, were established from private collections and the human urge to keepsake the different, the extraordinary, the exotic. The human species has evolved to use its dominion over other species to its benefit. The acquisition of animals as collectible has always been more fascinating and exciting than natural history objects. This is in part because wild life is less common, difficult to acquire and more costly to maintain. Keeping living animals has been the ultimate trophy for many collectors of the elite. Collections brought a microcosm of reality to the homeland. The concept of the natural history museum, zoos and aquariums has undergone great changes over the past decades; shifting from private collections to public displays. In the following text, I will discuss a brief history of the zoo as living museum, and how institutions, such as Sea World, use cutting-edge experiential design and “crowd pleasing ‘edu-tainment’to revive their relevance for the

Researching a museum before the visit is an important factor in the visitor gaining useful knowledge on the exhibition and experience ahead. Upon visiting the website I was able find large amounts of information pertaining to the Warhol exhibition that would be beneficial for my visit. The website provided concise information on the museum location, parking information in the area, cost of admission, and should expected and gained from the exhibition. The large exhibition has been built to display a timeline of Warhol’s

This thesis focuses on archaeology programming in museums and the common visitor misconceptions about archaeology that museum educators face, especially those promoted by popular culture. By recognizing the notions and understanding of archaeology that visitors and program participants carry with them, museums can create truly educational programs that go beyond the adventure/detective version of pop culture archaeology and successfully introduce the archaeological discipline to the general public. This thesis analyzes and explores what misconceptions of archaeology are commonly held by museum visitors, what their source is, and how museum programming can address these notions.

‘Imagine you were in charge of a museum’s collecting policy. What would you chose to collect and how would you justify these decisions?’

I have visited countless museums in my lifetime, and throughout these experiences I have noticed a general pattern in the museum visitors. Often times they grant only a slight glance at the pieces, and allocate their energy in to taking pictures with the pieces rather than taking the time to learn about the art. On the contrary, I view museums as a place of learning, where culture is preserved and diversity is celebrated, where creativity is fostered and exploration is welcomed. My interest in interning at the Smithsonian Institution stems from the idea that museums are a place to gain knowledge. Through my experience as a docent at the Wellin Museum of Art at Hamilton College and leading tours for students and adults of various ages, I have seen the importance of a teaching museum, where the main goal is to educate. There is nothing more rewarding than helping kids learn about the world through the lens of art, or enlightening a trustee of the College about a work of their interest. The Smithsonian Institution’s goal of increasing and diffusing knowledge parallels my ideal view of what a museum’s values should entail. I aspire to intern at the Smithsonian in order to positively contribute and support the Institution’s goals and values, and have a unique learning experience.