When talking about the art gallery, the first scene occurred to my mind was the art gallery of museum. I went to some museums before to appreciate the artworks of different eras and cultures. Because I had lived in China for around twenty years, the most works I enjoyed were created by Chinese and they were filled with Chinese elements. And the majority of these artworks exist a long time and have diverse historical stories. Certainly, I had looked some contemporary arts, they delivered varieties
This paper will be describing and analyzing the African Art Galleries in the Metropolitan Museum of Art. The galleries that will be critiqued in this paper are 350, 351, and 352. Gallery 350 (Samuel H. and Linda M. Lindenbaum Gallery) is an averaged size rectangular room that spans about the length of a sidewalk. The gallery contains several carved wooden sculptures, primarily located in the center of the gallery that immediately take over upon entering. While most objects are not enclosed in cases
The display of Benin art in museum and galleries reflect the attitudes and perceptions of Europeans towards non-western artefacts, especially African. Thus as European attitudes change towards non-western art since the discovery of Benin art in 1897, Benin art has been revaluated and re-categorised. Initially there was a great deal of debate about Benin art and its display, as it did not equate with the perceptions then held about Africa. Until the British conquest of Benin in 1897, little was
trip to the Legion of Honor in San Francisco. Upon arriving I could see the tall ivory pillars surrounding the entrances of the museum, a reminder of the Neoclassical age in art history evident in 18th century Europe. Figures Amongst Ruins (Ruins with Sybil) is a 25.5 inch by 19.5 inch painting (“Figures Amongst”) that hangs in the far corner of the art museum 's Gallery 7. It’s calming colors and stunning depiction of decayed ruins captures my attention. The history for Ruins with Sybil increases
The two sites that I have chosen to compare are the National Gallery of Art (NGA) and The Metropolitan Museum of Art (The Met). The reason I chose these specific sites was the first images I saw which made me want to explore the webpages. I will be comparing the visual quality of the homepage, pictures, text, and content along with the overall quality of the two sites. I will go into detail about the differences and which site, in my opinion, would be more enjoyable based on their website.
have what it seemed as a successful art career. What is clear, the need to exhibit in a mainstream gallery or museum is not a priority, being consistence and creating a network is important. I do not believe any of these artists would turn away an exhibit in a mainstream gallery or museum. There is a great difference in the support network system in the 1970’s than today. For Picket and Washington there were black art organizations, which helped them enter the art world and in their personal life.
The gallery that I chose to visit is called, Berry Wing of European Art, also called Kresge Foundation Gallery of the 16th and 17th Century European Art. I thought that these names for the gallery were very odd because many of the paintings in this gallery were either not from the 16th and 17th century, or weren’t from European art. A common theme that the whole gallery had was the color red. Because of this, the gallery has also been given the name Red: Endless Attraction, which I think fits the
Kelvingrove Art Gallery and Museum in Glasgow, Scotland; a Victorian era museum established in 1901 to express the pride, wealth, and cultural ambitions of the industrial city of Kelvingrove, was in need of change in the late 1980’s to be more relevant to modern audiences. Starting in 1990, when Mark O’Neil joined the Kelvingore Museum, Mark was tasked with bringing innovation to the entire museum by the then director Julian Spalding. After an initial start by O’Neil into implementing some of Spalding’s
the central focus was a small sculpture that was widely accepted by citizens as a classic work of art. However, in this painting, by placing an astronomical piece such as the model as the main focus, it forced people to form their own opinions on the scene that was being displayed in the portrait.2 This particular product of Joseph Wright is currently displayed at the Derby Museum and Art Gallery in Derby, England. It is measured at 58 inches by 80 inches and was painted using oils on canvas.1
seen a dramatic increase in the challenges facing cultural institutions, particularly museums. One of the most pressing issues currently facing museums worldwide is the diminishing level of government support. Despite reductions in government funding, the sustained maintenance of museum collections and facilities continues to require substantial resources. In the face of such difficulties, a growing number of museums have turned to innovative programming, specifically exhibitions, as a way to ensure