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The Guggenheim and Metropolitan Museums of Art, 2002.
A discussion of the Guggenheim and the Met and their success in stimulating and educating museum visitors.
1,395 words (approx. 5.6 pages), 4 sources, MLA, AU$ 67.95
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Abstract
This paper discusses the Guggenheim and Metropolitan Museums of Art, describing and contrasting the two museums in the context of bringing art, culture and architecture to the public. Modern thought regarding museum architecture is also discussed. It also discusses the history of art museums in the past century. It examines the level of interaction between the art admirer and the art itself in several museums and accordingly judges their success.
From the Paper
"Art museums have been through multiple metamorphoses in the last 100-plus years, from ornate Victorian cathedrals stuffed with artifacts, to flexible modernist boxes and vast salvaged industrial buildings. A museum building is often thought of as monumental sculpture, and is itself potentially the most important work in an institution's collection. How paintings and sculpture actually fit into it is, typically somewhat controversial. Museum founders realize that the public can best appreciate and become engaged in art when the level of interaction and personal participation is high. Mimi Gaudieri, the executive director of the Association of Art Museum Directors, and other enthusiasts among professionals in the field insist that there's no conflict between a museum's mission and high-profile architecture. "On the contrary, an exciting building lends itself to art," Gaudieri says. "It's part of the growth of the whole museum field. Years ago we were just sleepy institutions with no profile, and all of a sudden things have changed. Museums have woken up. We are much more aware of the community and are working more closely with it." Current museums incorporate inviting lobbies, lecture halls, libraries, cafes and shops, recognizing that while they display art, they also must draw the interest of the public (and potential donors) with a holistic appeal (Lloyd 2001)."
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The Metropolitan Museum of Art, 2008.
An overview of the Renaissance exhibition at the Metropolitan Museum of Art.
724 words (approx. 2.9 pages), 3 sources, MLA, AU$ 37.95
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Abstract
This paper discusses how the special exhibits at the Metropolitan Museum of Art serve an important role in the storytelling of social, political and art history. In particular, it looks at how the special Renaissance exhibition tells a fascinating story of religious and intellectual enlightenment, and provides patrons with a glimpse of Renaissance tastes, fashions, standards of living and way of life. It examines how the artwork of Fra Angelico and the special exhibit on Renaissance tapestries provide a great deal of knowledge and insight on Renaissance artist influence in religion, society and affluent tastes.
From the Paper
"Angelico's famous pieces The Nativity and The Virgin of Humility are displayed at this exhibit. The works are very powerful, using bright colors to emphasize the birth of Jesus, angels rejoicing from above, and the Virgin Mary cradling Jesus. The pieces individually show Angelico's devotion to the Catholic Church, with symbolism fairly common within the paintings. However the paintings also portray to the viewer the saintly respect provided to the acquaintances of Jesus, especially the mother Virgin Mary. "
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L.A. History Museums, 2002.
A discussion of how Los Angeles' museums shows L.A. history.
900 words (approx. 3.6 pages), 2 sources, AU$ 51.95
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Abstract
This paper presents a detailed discussion about the Natural Living History Museum of Los Angeles and how it pertains to the history of the state and consequently the nation. The history of the United States until 1865 was an interesting time. We moved slowly while at the same time making leaps and bounds in progress as far as settlements went. Families sought out new lives and believed that travel held the key to their happiness and future success . While the nation was still struggling to determine how it was going to conduct itself and present itself to the world it endured many changes including the Civil War and the enactment as well as the abolishment of slavery. In addition to the Natural Living History Museum being used as an example the Gene Autry Museum was also touched upon as relating to the time period.
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History in Museums, 2002.
An analysis of the difficulties in potraying history in museums.
1,650 words (approx. 6.6 pages), 3 sources, AU$ 90.95
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Abstract
This seven-page undergraduate paper examines the chief difficulties involved in portraying history in museums. The author discusses a range of challenges and offers solutions to the problems involved.
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Museums, 2005.
An analysis of the role of the museum in modern day society.
1,941 words (approx. 7.8 pages), 10 sources, APA, AU$ 89.95
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Abstract
This paper explores the roles that museums have today and discusses this against the background of contemporary academic and policy debates. The paper considers whether museums can defend their role as a conserving agent, especially in times where the Internet and other media have become the main source of information for most people. The paper then concludes that the traditional museum, as it exists for more than 200 years now, plays and will always play a special but nonetheless important role in the lives of the people and in a society that rather is a changing collectivity than a rigid system.
From the Paper
"The term 'museum' is originally derived from the Greek word mouseion, which simply meant library, and was used for the Ptolematic library in Alexandria (Vergo: 1997, 1). But that collection of books in ancient Greece cannot be compared to the modern form of our so well-known museum. The museum as we know it first came to being in the 18th century in France. After the French Revolution, the private collections of the rich were made publicly accessible and thus gathered together in special places for every citizen to visit. This process of bringing culture to the mass, of 'culturing', was an attempt of constituting a public, of generating 'a self-identifying collectivity in which members would have equal rights, a sense of loyalty to one another and freedom from exclusions' (MacDonald: 2003, 2). "
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Virtual Tour of Two European Museums, 2005.
A paper providing a virtual tour of the Louvre and the Tate Modern.
900 words (approx. 3.6 pages), 2 sources, MLA, AU$ 46.95
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Abstract
This paper describes a virtual tour of two museums online - the Louvre in Paris, France, and the Tate Modern, in London, England. The paper describes the sites, and what can be seen on the tour, as well as information that is available about the museums. The author then makes a comparison of the two.
From the Paper
"The Louvre museum in France is accessible by a virtual tour on the web. You can tour through the various galleries and exhibits, read the history of the Louvre and get information on opening hours, ticket reservations, etc. The site lists events, activities, classes, etc - but all in French, so a knowledge of the language is necessary to use this site meaningfully. There are also images of the architecture of the Louvre including the Pyramid designed by..."
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The "Elgin Marbles": Greek Property in British Museums, 2003.
An examination of the "Elgin Marbles", ancient Parthenon figures that were claimed by British archaeologists in the 18th century during Greek civil strife, and the debate over whether or not they should be returned to Greece.
3,175 words (approx. 12.7 pages), 7 sources, MLA, AU$ 133.95
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Abstract
This paper examines the controversy that exists over the "Elgin Marbles", which were originally part of the Greek Parthenon's frieze, that were taken by Lord Elgin of England in the late 18th century. The paper takes the position that the statues and other artifacts which currently are housed in English museums, are the rightful property of the Greek people and should be returned to Greece. The paper is divided into several sections. The first gives a history of the Elgin Marbles and how they came into possession of the English in the first place. A brief history of the Parthenon is also given in this section, with a detailed examination of the architecture and the ancient politics that surrounded its construction. The paper then spans the history of the Parthenon up until the 18th century, including the building losing its roof and several architectural designs due to the Ottoman Turks using it as an armory during their control of Greece. The paper discusses how British archaeologists claimed the pieces in the 1800s, fearful that the Greeks could not maintain such classical pieces of work. The paper ends with a section discussing the latest improvements that are underway in Greece to house the "Elgin Marbles" if an international agreement can be reached that will send the pieces of the Parthenon back to Athens. The concept of Greek pride and honor in their ancient ancestry is discussed and how originally, when Greece was unable to maintain such pieces, the idea to keep them in England was the correct decision to be made.
From the Paper
"The mere thought of The Parthenon evokes an image of dignity and pride for not only the current Greek citizens who look upon their ancient ancestors with honor, but for the entirety of Western civilization who view The Parthenon as a representation of the greatness that can be achieved by Western culture. Using this Western concept of pride as a basis, it is clear to see why the British government has its roots in claiming that the treasures of the Parthenon would be better served in a more upscale environment such as The British Museum rather then an unfinished Acropolis museum in Athens. Nevertheless, the removal of The Parthenon artifacts, which are known as The Elgin Marbles since the works of art were "purchased" by the English noble Lord Thomas Bruce of Elgin in 1801, was in essence an infraction upon the Greek populace's right to their ancestors' culture. In large part due to the importance of The Parthenon and the culture that it represents to Greece, the rightful place of the Elgin Marbles is in Athens where the pieces of architecture were always intended to remain when they were completed. "
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The J. Paul Getty Museums, 2002.
Historical review and comparison of the two J. Paul Getty Musems in Southern California.
2,650 words (approx. 10.6 pages), 6 sources, AU$ 142.95
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Abstract
This paper compares the Getty Center in Los Angeles and the Getty Villa in Malibu in terms of design, layout, architectural details, lighting aspects, and design and construction history.
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?Geometric Krater?, 2002.
An analysis of the Greek vase, ?Geometric Krater?, and why it rests in the Metropolitan Museum of Art.
1,391 words (approx. 5.6 pages), 4 sources, MLA, AU$ 67.95
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Abstract
This paper introduces the piece of art, "Geometric Krater" from Greece, and specifically addresses the question of why it belongs in a museum. The "Geometric Krater" in the Metropolitan Museum of Art in New York is a period piece, made in Greece about 750-700 B.C. It looks at how kraters were originally used for mixing wine with water and how this piece reflects a more religious and cultural use, since it was used as a grave marker and so depicts a funeral, complete with mourners. It discusses how the "Geometric Krater" is a beautiful piece of art, but also an important and lasting piece of history and, as such, belongs where it can be continually viewed and appreciated.
From the Paper
"The vase itself is large, about 42? inches high, made out of golden terracotta, and embellished with black and red geometric designs. The entire theme of the piece is geometry and precise designs, which march in distinct rows around the circumference of the piece. At the lip of the vase, which tapers in slightly from the widest point of the vase, there is a rigid Greek key design in red, edged lightly with black. On either side of the Greek key is a tiny band of black "teeth" painted around the piece. These teeth separate the lip of the pot from the body, which is covered in bands of varying widths. The first band beneath the teeth is a wide band depicting the deceased, lying upon his funeral bier. He is rendered in red and black, with a tiny round head looking almost like a stick figure. He is lying on his side, so the viewer can get scrutinize him more clearly, and mourners rendered in stark black, who raise their arms to the heavens, surround him. "
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American Art, 2008.
This paper analyzes the American paintings and sculpture exhibition at the Metropolitan Museum of Art.
875 words (approx. 3.5 pages), 3 sources, APA, AU$ 46.95
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Abstract
This art study examines the American paintings and sculpture exhibit at the Metropolitan Museum of Arts in New York City. The writer notes that the exhibit is formulated around a three-fold objective: portraits, landscapes and sculpture for early American history. The writer maintains that by examining one piece from each of these sections of the exhibit, there can be a diversified analysis of how the pieces are placed into the overall framework of the museum. The writer concludes that these American art exhibits represent a historical view of early American history and stylistics.
From the Paper
"The historical perspective of this painting is recreated in a fictional pose for Washington and his solders as they cross the Delaware to surprise their British and Hessian enemy. This was an important point during the revolutionary war in which Washington gained a growing national and international support for the cause for independence. This aspect of the exhibition directly relates to the patriotic symbolism of the gallery, as it is representative of a collection that define American historical context. The painting is 149 x 255 inches and is placed within one of the large gallery rooms. The need for this is accentuated not only in its size, but for the centrality of its importance for the historical forum that the Metropolitan Museum of art is presenting. This painting is properly placed in the overall architecture of the northeastern part of the Met, since it allows a wide range of visibility and composure for the viewers to understand the crucial place this painting holds in American art history."
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Greek Vases, 2000.
An examination of the themes found on Greek vases in the New York Metropolitan Museum of Art.
1,185 words (approx. 4.7 pages), 4 sources, AU$ 59.95
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Abstract
This paper discusses the Calyx-Krater vase found at the New York Metropolitan Museum of Art. The vase?s depiction of a scene and ideas from Homer?s "Iliad" is the focus of the paper. However, the history and coloring techniques of Greek vases are also discussed in detail. Illustrations are included with the paper.
From the Paper
"One of the best sources for Greek Mythology is the paintings on Greek Vases. Stories of the gods and heroes are retold again and again in this medium, providing a two dimensional visual reference for the legends. Scenes showing the action of Homeric poems were common, as well as scenes depicting the ideas put forth in these writings. It is the scene of Sarpedon?s death that is depicted, yet it is the idea of a hero?s death that is inferred on the Calyx-Krater of the Metropolitan Museum."
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"Woman" and "Celia", 2008.
This paper provides a visual analysis and comparison of two works of art and design from the Metropolitan museum:"Woman" by Willem de Kooning and "Celia" by John Graham.
958 words (approx. 3.8 pages), 2 sources, MLA, AU$ 50.95
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Abstract
In this article, the writer studies two works of art that are displayed in the Metropolitan museum. The writer notes that Willem de Kooning's "Woman" is an oil and charcoal rendering of an anonymous woman on canvas, composed in 1944. It is a flat-looking depiction of a female nude against a background that looks like a home. The writer compares this work to "Celia" by artist John Graham. The writer points out that Graham's work is a far softer looking painting, as it is painted in oil, with casein, charcoal, chalk, pencil, pen and ink on Masonite rather than pure, flat oil on canvas. The writer discusses that it showcases "Celia," a woman with a classically hourglass figure and long, soft hair against a black background more reminiscent of a 19th century or classical nude than a modernist depiction of a woman, even though the painting was created at the same time as "Woman."
From the Paper
"The space seems cramped, given her position, although there is no distinctive sense of location to the picture, other than the fact that it is indoors. The painting is classified as abstract expressionist in its color scheme, and its use of a mask-like face, which is reminiscent of some of Picasso's cubist works. Although this work is recognizably human, it seems like a grotesque rendering of the human form. The work seems more like smears or swirls on a canvas rather than a suggestion of someone one might know in life. The smile on the woman's face while she assumes an uncomfortable position, and the cartoon-like yellow, orange, green, and blues make it seem as if the work is a parody of a woman, as if the woman's image is being made intentionally ugly or distorted. Even if this was not de Kooning's intent, the artist's emphasis is on the arrangement of form, line, and color not the character of the woman herself. The woman exists as a subject, a series of surfaces, rather than a unique personality."
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Greek Vases, 2002.
A critique of some Greek vases which can be found at the Metropolitan Museum of Art.
1,150 words (approx. 4.6 pages), 4 sources, AU$ 64.95
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Abstract
A paper discussing the Calyx-Krater vase found at the Metropolitan Museum of Art. The vase's depiction of a scene and ideas from Homer's Iliad are the focuses of the paper, however, the history and coloring techniques of Greek vases are also discussed in detail.
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The British Museum, 2005.
This paper discusses the financial management of the British Museum especially for long-term projects and displays.
2,640 words (approx. 10.6 pages), 7 sources, APA, AU$ 115.95
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Abstract
This paper explains that the expenses incurred by any museum including the British Museum can be sub-divided into cost categories: Salaries and benefits, occupancy, curatorial and conservation, public programs, marketing and administration. The author stresses that museums must reserve about 5% to 10% of their total budget for direct collection management costs other than salaries; lesser reserves indicate neglect of the museums most important resources, its exhibits. The paper relates that museums house thousands of art and artifact pieces valued at billions of pounds; therefore, insurance on collections, buildings, equipment, liability and loans to other museums around the world is essential. Charts and graph.
From the Paper
"The museum currently gets a grant of about 36 million pounds. This is nearly one third of its total budget. Although the income from the shops on the piazza has doubled, it is not sufficient to ensure that the museum is profitable. The actual operating costs of the Great Court were higher that the initial estimates. At present effective marketing can combat these unique situations that the museum faces. Fundraising is essential. There are two methods that have been identified in effective fundraising for any establishment. The first is a pace setting donation method in which the museum approaches its most valuable donators and petitions for a donation. This is generally done on a personal, one on one level where interaction is critical. The fundraisers then approach other individuals who might be willing to donate to the cause if they feel that they will gain recognition or popularity from that move."
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Aztec Art, 2005.
A description of various forms of Aztec works of art.
900 words (approx. 3.6 pages), 3 sources, MLA, AU$ 46.95
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Abstract
This paper discusses various forms of Aztec works of art, including those from a recent find, on exhibit at the Guggenheim Museum. This paper looks at how the works of Aztec art counter historical views of the Aztec culture.
From the Paper
"The culture of the Aztecs was primarily forged from the culture of their predecessors the Olmecs, the Toltecs and the inhabitants of Teotihuac. The Aztecs flourished as a civilization for two millennia before being decimated by smallpox and the Spanish conquest led by Cortes. In order to justify the systematic destruction of the Aztecs, the Spanish often represented them as a barbaric and savage culture. However, artworks uncovered in archaeological expeditions have uncovered the inaccuracy that such an assumption represents as the totality..."
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UCLA Fowler Museum of Cultural History, 2002.
This paper describes a visit to the UCLA Fowler Museum of Cultural History highlighting a show entitled "Music in the Life of Africa".
1,755 words (approx. 7.0 pages), 1 source, AU$ 82.95
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Abstract
This paper explains that the Fowler is a museum of culture rather than an art museum, and therefore it concentrates on the way culture is manifested by different peoples around the world. The author points out that the Fowler Museum is in a relatively new building on the north end of the campus of UCLA, but getting to the museum and close-parking areas are problems. This paper explains that the display of the artifacts in this museum differs from that in many museums; the visitor is not so separated from the objects being shown, but rather most objects rest on low platforms no more than a foot or so off the ground. The paper includes details of the "Music in the Life of Africa" exhibition.
From the Paper
"Two of the current exhibits emphasize a continuing concern with how a culture makes use of its waste in artistic expression with shows on how certain materials are recycled for use in artworks. A second show has a similar theme but is more particularized as it shows "Muffler Men," or human figures made from discarded mufflers, usually by mechanics who then place these figures outside their businesses as advertising to show passersby what kind of business is conducted inside. Many of these figures are very creative. One service station shown in a photograph has eight or nine such figures outside and on its roof. Some of the figures are playing musical instruments, also made from old mufflers and other automobile parts no longer needed. The figures are usually painted, and they resemble nothing so much as robots in an old science fiction movie."
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