Art Museum Of Fort Worth Texas

On November 7, 1883, an exhibition organized by “May Wright Sewell, her husband Theodore, and a small group of art-minded citizens” (History, 2017) began what would one day become the establishment now known as the Indianapolis Museum of Art. Since that first exhibition, the IMA has gone through several identity changes. They were first named, the Art Association of Indianapolis. Their next identity was as the John Herron Art Institute, which opened a whole new chapter, as they became “a campus featuring both a museum and an art school.” (History, 2017) Today, the IMA is one of the largest encyclopedic art museums in the nation. The IMA has had various leadership and staff over the years that have lent to how the museum operates today.

The North Carolina Museum of Art (NCMA) holds many works of art from all types of cultures from around the world. The Torso of an Emperor in the Guise of Jupiter from Roman culture and the Torso of Aphrodite from Greek culture, are but two of them. It is unknown who the artist was for either of them, but the work has lived on for centuries. During the time period the gods were known for their perfection- like body and extraordinary looks. Since the sculptures highlight only the torso of the body it represents that only image matters and the brain does not.

As Edgar Degas once said, “ Art is not what you see, but what others make you see”. The St. Louis Art Museum is a place for artist to display their art and give spectators the option to see art from a new perspective. This was the case for me. As we walked up to the beautifully structured building that stood so tall and wide, my expectations were extremely high. At first glance I notice the bronze statue of King Louis IX of France riding high on his horse. From this statue alone, my expectations of the art museum grew stronger. I have never been to an art museum before, so I wasn’t sure of what to expect. My first expectation was to see huge detailed sculptures right as I walked through the door. That expectation didn’t come true.

Philadelphia Museum, a three-floored building, has different artwork distributed chronologically, conceptually and according to nationality. The exhibitions are classified in different categories ranging from American Art, Asian art, European art, to Arms and armor, Prints drawing and photographs, Modern and contemporary art, Special Exhibitions, and Textiles. The ground floor is composed of two types of artwork: prints, drawing, and photography; specifically, the Honickman and Berman Galleries, and modern and contemporary art. The Honickman and Berman Galleries and a section of the modern and contemporary art occupy the west wing while the rest of the modern contemporary art occupies the east wing. The classical splendor is the most significant showcase in the Honickman and Berman Galleries designed by Benjamin Henry in 1808. Inspired by the classical art of ancient Greece, the showcase is one of the best achievements of the early national periods.

My experience to the Dallas Museum of Art was a bit different from the last time I had attended the museum. I was curious to see what pieces of art there would be and if it would be the same as the previous visit which was long ago, but to me all the pieces of art were so different and very interesting. It may have been because I saw all the pieces in a new perspective since learning about the different types of paintings there can be and knowing how and where sculptures come from. Even though I do not know much of art I really gave it a try into seeing what the artist may have wanted us to get out of his work. By reading a view of the chapters made me aware of art, I wouldn’t call myself an expert, but it was actually nice knowing that a

As of recently, I had visited the UNM Art Museum to explore their various exhibits. There were four art exhibits at this art museum; Mata Ortiz, The 22nd Annual Juried Graduate Exhibition, Remnants: Photographs From the Disfarmer Studio, and Lightning Speak. Each exhibit portrayed similar characteristics, such as color, seating, and physical space. As with each art gallery, white is the primary neutral color used to display each piece. The white posts used to display certain pieces and walls gave a very modern and clean feel to the museum. As for seating, I was much too immersed into the art pieces to notice any seating areas during each exhibit. But I’m quite certain there weren’t any in most of them except for The 22nd Annual Juried Graduate

The Guggenheim museum in New York is unlike any other art gallery/ museum in the world. Its round, top heavy shape is something like no other and Wright prided himself on this artistic integrity1. The section of the Guggenheim, shown in Figure 3, shows that the main exhibition spaces are ramped from the top floor all the way down to the ground floor. This was a very

Unconventional design concepts and material use that incorporate the use of science, technology and nature were a key development during this time period. “In Hitchcock's words, Paxton's scheme ‘owed its aesthetic qualities to factors hitherto unrecognised — the repetition of units manufactured in series, the functional lace-like patterns of criss-cross trusses, the transparent definition of space, the total elimination of mass and the sense of tensile, almost live, strength as opposed to the solid and gravitational quality of previous masonry architecture’” (Mordant Crook 1987, p.107). This suggests Paxton was challenging traditional architecture of the period, offering a fresh perspective. The

Goodwin and Stone rejected the Beaux-Arts movement previously seen at museums during the early part of the twentieth century (Ricciotti, 1985, p. 59). In many cases, it was the opposite of traditional museums. The Museum of Modern Art was not designed with grand halls or spacious rooms like traditional museums (Ricciotti, 1985, p.59). The walls were covered in light textured cloth which was later on adopted by other museums (Ricciotti, p. 1985, p. 57). The building was divided into smaller gallery spaces as compared to the Louvre. Additionally, the artwork in the museum was also a smaller residential scale because many pieces came from collector’s homes (Ricciotti, 1985, p. 57). Furthermore, the museum is set in a densely populated area which limits the square footage (Ricciotti, 1985, p.57). The Museum of Modern Art was contained on multiple stories and designed vertically, as opposed to horizontally sprawling museums like the Louvre and other palatial museums (Ricciotti, 1985, p. 59). Goodwin and Stone created a museum that impacted museum architecture in the twentieth century. It was a “decisive break with conventional museum design (Wallach, 1992, p. 209).” The Museum of Modern Art became one of the most architecturally influential museums of the twentieth century (Merkel, 2002, p. 71; Ricciotti, 1985, p. 52). This influence helped establish the modern model of a museum building. The

Situ Studio designed and fabricated six models for the exhibition, Frank Lloyd Wright: From Within Outward. For the design of the models, Situ Studio embraced the space of the Guggenheim as a site in itself, designing each of the pieces to have a unique engagement with the architecture of the museum. The resulting models respond to the geometry of the ramps, grow out of walls and are suspended from the gallery ceilings. In keeping with the theme of the exhibition, "From Within Outward," the three-dimensional scale models illuminate th internal mechanics of functional space in relation to exterior form in a variety of Wright projects including an exploded version of the Herbert Jacobs House #1 (Madison, Wisconsin, 1936 - 1937); a large landscape-based

From Brutalism to Postmodernism to Minimalism, Kahn’s many directions and superficial fashions can be traced to roots in his original oeuvre. The timelessness of the design and deep personal involvement of Kahn is undoubtedly some of its greatest qualities. Timelessness is exemplified in his Salk Institute design, containing aspects and principles that in a certain sense can be described as universal or eternally valid. In terms of where the structure sits within his portfolio of work, the case can be made that all of Kahn’s later buildings are directly developed from concepts first presented in his design for the Salk Institute. The Institute reformed how we think about buildings and space for those who inhabit it , as well as the honesty and “truth” in the use of materials and their architectural combination.

Some are like sea serpents, others like office cubicles, but regardless the shape, all art museum galleries intend to give viewers a certain experience. The flowing into, out of, and around gallery spaces within an art museum can positively or negatively affect the patron’s experience. Unfortunately, when the design of an exhibition gallery negatively affects a viewer, a disservice is done to the artists and culture of the artworks on view. On view in the permanent collection of the Kimbell Art Museum in Fort Worth, Texas is the exhibition of several seventeenth and eighteenth century artworks with Spanish influences, accompanied by a single Japanese artifact of the same era. At first glance, all the pieces on display within this

The Yale University Art Gallery was founded in 1833 when John Trumbull donated to the University a collection of over 100 paintings of the American Revolution. The original building was raised in 1901. Currently the gallery, considered to be the oldest in the western hemisphere houses a huge collection of art occupying several buildings of the University. The Main building of the Gallery was built in 1953, and was among the very first designs of Louis Kahn who taught architecture at Yale. Kahn sought to give the modern post WWII architecture a monumentality, when designing the gallery. His choice of materials such as heavily textured bricks and bare concrete contrasts with the much more delicate and refined surfaces inside the build as well as the huge glass windows lined by steel. On the outside the buildings ' simple, plain deprived of any architectural detail walls sharply contrast against the other Neo-gothic buildings of the University. The entrance is hidden in a niche on the side of the building, surrounded by multitude of glass fenestrations. After stepping through the door, the visitor finds himself in an large, open space surrounded with loft like areas. In the background visible are the core circulation elements such as the main stair case, which also acts as a sculpture, the elevator and the mechanical core. The ceiling in some of the rooms looks like a cement waffle. Along with the elements of concrete and steel, the hollow- tetrahedral space frames give the

In 1956, various people broke away from the Congres Internationaux d’Architecture Moderne (CIAM), founded in 1928, in order to set up an international splinter group of modern architects, Team 10. This led to the demise of CIAM. What were the goals of Team 10? How did they articulate their disagreements with the objectives of CIAM? Choose a specific building or project to show how one (or a pair) of the members of Team 10 attempted to put those goals into practice.

A visit to any of the Washington, D.C. based National Building Museum’s exhibit starts with taking in the grandeur of the museum itself. Located in the historic Pension Building, a towering Italian Revival structure, the museum opened in 1980, with a mission to “to advance the quality of the built environment by educating people about its impact on their lives (About the National Building Museum, 2016).” The museum 's great hall features 75 foot high corinthian columns, as well as a 1,200 foot long, 3 foot high frieze designed by Caspar Buberl in 1899. The very structure of this museum is an exhibit in and of itself, and it sets the stage for discussions about the evolution of American architecture, investigations into why we live where we do, and explorations of work and play.