Dbq Museum Collection Analysis

Throughout this semester as a class we have gone over many different terminology, seen many artists from all different countries and time periods. We have also learned about different kinds of art and media that the Artist work with. Over the entire semester I have gained a greater appreciation and understanding for art. Taking all of the new information that I learned this semester I choose three pieces of artwork from the St. Louis Art Museum. Two are similar to each other and the other is very different. The three pieces that I choose to critique are called Keith, Betty and Loch Lomond.

first, it provides the community of visual interesting visual of his history through "interactive exhibitions."

While reading “The Trouble with (the Term) Art,” written by Carolyn Dean in the summer of 2006, we are taken through an array of different scenarios that lead us to questions what art really is. Dean explores the idea that the word “art” is used far too often and too habitually, and that as we study the non-Western cultures we need to use much more discretion regarding what we call the different pieces of their culture. Throughout the essay, Dean supports her thesis that we too often categorize non-Western pieces as art by using different examples of how certain non-art pieces were deemed as art throughout the course of their history. Dean does this by using four key examples of how these ancient pieces are inappropriately called art to successfully support her thesis and avoid biases.

Throughout mankind, the concept of art has developed and changed. We have observed a variety of artistic forms and styles through paintings and sculptures. Numerous amount of cultures and time periods we 're established in history from art. Some include the Greek, Roman, Early Christian, Gothic, Renaissance, and Baroque time periods of art. During each of those time periods, new artistic styles were created and transformed. Thousands of paintings and sculptures were made in these periods of time. In this essay, I will imagine myself being a curator of an art gallery that has a Greek room, a Roman room, an Early Christian room, a Gothic room, a Renaissance room, and a Baroque room. I will select two pieces for each room and discuss why I would put those paintings and sculptures in each room at the gallery.

The Isabella Stewart Gardner Museum showcases Mrs. Gardner 's collection to the public in greater Boston area. Each room functions as a pilgrimage, as one travels through various countries and time periods ending at the chapel and subsequently the Gothic room. In this paper, I will examine the Gothic room 's theme in relation to the placement of its objects. I will also evaluate the room 's strengths and challenges in serving the public, and how the practices employed in this room fit into the context of accessibility for the entire museum.

Economic imbalances resulting from World War I was the main cause for the Great Depression. Consumers were unable to buy all the goods produced causing manufacturers to close businesses. Closing businesses resulted in a rise of unemployment, however, President Franklin D. Roosevelt created the New Deal as an effort to alleviate poverty and unemployment. President Roosevelt believed that it was essential for the government to protect the less fortunate and improve society [1]. One of Roosevelt 's New Deal program, the Works Progress Administration (WPA), employed masses of people, saving them for poverty and despair. Those who were employed completed many of the public works during the 1930s and 40s. Under the WPA, the Federal Art Project (FAP) was created to provide work for artists as well as bringing their work to the community, allowing some Americans to see an original piece of artwork for the first time [2]. More than 100,000 paintings and murals were created through the FAP. Some of the greatest artists who created masterpieces were employed by the Project. The FAP and all other art programs were terminated with WPA in 1943. Because of the ending of the Works Progress Administration, most of the artwork since then have been lost or destroyed. The WPA sold thousands of paintings by the pound after closing [3]. Despite these losses, artworks such as Breadline-No One Has Starved, Ploughing It Under, and Coal Pickers have been preserved in museums like Crystal

Colonial Williamsburg is a place to explore past events, traditions, and ways of living. Today it is the largest history museum in the world, and home to four very important structures, Bruton Parish Church, the Capitol, the Governor’s Palace, and the Magazine. They show importance during colonial times, relevance today, and connect to the motto, “That the future may learn from the past,” but the Magazine displays these three things best. Because the Magazine, a three-story, eight sided brick building, held the ammunition and explosives, is considered our symbol of freedom today, and connects to the motto, it deserves a 2016 commemorative

Some people might think that abandoned, “ghetto” sites have become useless, uninspiring, invaluable and should be demolished to create a building in which people could inhabit or use with a purpose. Although, that is not always the situation, some places could be transformed into a building that is advantageous to all. To support this, it clearly states in Source#2 that “Through government partnerships, public art can also transform dull or run-down public spaces and inspire the people who live and work there. We believe that art is educational and belongs to all people. We endeavor to produce creative projects that engage citizens, beautify public spaces, and challenge expectations.”(Createforall.com) This source identifies how

In this article, Dorothy Lippert, a Native American, covers the complex dynamic between Native Americans and museum collections, more specifically the archeologists that recover and archive the so called artifacts. This complex relationship between the artifacts, with the scientific importance and ability to educate, and the cultural importance of the artifacts to native peoples is one that is forever changing. Curators are in charge of putting together exhibits, but as Mrs. Lippert examines, the archaeologists that collect and find these artifacts have a unique relationship with these items. This relationship is unique because once archaeologists have control of an item, they decide what the item will be called, how they will classify the

Why doesn’t certain statutes get the same recognition as the main and attention as bigger memorials. Some memorials get more attention than others Americans find the making of large national monuments would stand out more than the smaller memorials. Argument, however, is without political meanings, and when the public space in question is the National Mall the political meanings are amplified. In many cases, these aesthetic arguments echo, and are perhaps proxies for, political arguments. The belief, expressed by many critics, that the memorial should not be where it is, that it destroys the integrity of the open mall, impedes vistas and disrupts the flow of space, can be read as basic resistance to filling open space with meaning. A nation

Should intentionality be considered within the analytical framework of art history? This is unquestionably a pertinent question for the discipline of art history, for the Intentional Fallacy has caused the study of intent to be questioned and, sometimes, avoided by scholars of art history. Of course, once the study of intent is questioned, the recognition of some of the more prevalent factors of intentionality must also be placed under scrutiny, too. This question is particularly pertinent in terms of Early Modern art history, for it is then that artists became more and more free agents to whom there were ever more opportunities and means of expression available. In the context of the history of the art of the Early Modern period, this question

Kenneth Going describes the American custom associated with racial stereotyping. The Book Mammy and Uncle Mose: Black Collectibles and American Stereotyping illustrate the concept of racial inferiority of African Americans. Goings refine an understanding of the stages that indicate the history of stereotyping of the African American collectibles. Goings illustrates the African American emergence of art and reproduction which lacks a public image. According to Goings, the stereotyping of African American culture precisely points out the historical references about the origin of collectibles from the post-reconstruction era of the World War I. Goings states the emergence of particular racism which exaggerated physical features that enforced menial

From Boullée To Bilbao by Andrew McClellan discusses how the museum came to be known as a utopian space. McClellan states that museums have developed into three metaphors the first is the ritual space because attending museums has slowly become more ritualist then attending church; the second is the museum is a tomb or a final resting place for art; the third is the museum has become a shopping mall. While these are all true interpretations there is much more to the development of museums becoming a utopian space.

This chapter would analysis photography under conceptual review as the main concept of this study, it would look at the history of photography, types of photography, and types of cameras available till date, followed by empirical review and lastly the theoretical framework would come at the end of this chapter.

In tying Benjamins’ views of reproductions with Bolten and Grusin’s hypermediacy, the metaphor of a magician and a surgeon by Benjamin (1936) is a great example to describe how audiences interact with the artwork, where the traditional museum is the magician and the virtual museum is the surgeon. “The magician heals a sick person by the laying on of hands; the surgeon cuts into the patient’s body. The magician maintains the natural distance between the patient and himself….he greatly increases [this distance] by virtue of his authority. The surgeon does exactly the reverse; he greatly diminishes the distance between himself and the patient by penetrating into the patient’s body” (Benjamin, 1936: page number). Where the audience can enlarge