Cleveland Museum Of Art Analysis

When I came to the museum, the first thing that impressed me was the astonishing building: it was a masterpiece itself. The exterior of the Tampa Museum of Art has a light installation, and all I wanted at that moment is night to come so I could see thousands of colored lights reflected in the surface of the river that flows near the museum. What’s more, I liked the design of the museum inside as well. There were white walls and perfect lighting, and nothing would bother contemplation. In many museums I have visited before there was a lot of distractions, but in this museum everything was done on the principle of simplicity, and that was very pleasing to me. Moreover, when we came inside of the museum, it was almost empty. There were just a few visitors, who were fascinated by various drawings and statues. Most of the visitors were teenagers, what slightly surprised me. I

In preparation for my first visit to the Denver Art Museum I browsed their numerous extravagant collections online. I was taken back by the wide range of skilled artwork as well as impressed. I spent hours completely entranced by the artwork. When I was done viewing the gallery virtually I questioned whether or not I should even still visit the actual museum. I felt that I had just had the same experience only free and from the comfort of my couch. Fortunately, my sister convinced me into going with her and I have not regretted it since! Viewing artwork in person is far more beneficial than viewing it from a virtual gallery.

Cleveland has been fortunate enough to have become home several popular museums, including The Cleveland Museum of Art. The museum is filled with impressive masterpieces from the beginning of human documented time to today’s world. This free exhibit offers an exciting, enjoyable experience to those of all ages and those of all backgrounds. From the interactive futuristic portions of the building, to the delicate works of the past, there is something at this museum to please each person’s artistic mindset.

To highlight the relationship between each of the exhibitions, the staff could provide daily visitors with a cohesive guide map of the entire museum. The current location of the museum is massive to accommodate for the displays as well as three research laboratories, but due to large size, each exhibit feels isolated and

“This world is but a canvas to our imagination”; which always has been throughout the years. Art has been separated in different categories such as architectures, sculptures, photography and paintings. For my semester project, which was to visit an art or historic museum; my classmates and I went to the Reynolda House Museum of American art which provided us both the art and history. At first, we all assume that the visit would be boring or the art gallery would be dull. What shocked us the most was the actual experience being in the museum instead of just talking about it. We experienced multiple feelings during our visit in the art gallery as well as the historic area. From the art gallery which held many paintings of artist, to the house that R.J Reynolds and his family once occupied. Furthermore, it also showed us the legacy of R.J Reynolds and his family has left behind for the people of Winston-Salem.

I decided to visit the Longmont Museum and Cultural Center (Image 1). The URL for this museum is http://www.ci.longmont.co.us/museum/. My experience visiting this museum was very different from the other museums that I have visited more recently. It provided a great deal of interesting insight and topics for discussion for me to consider. My overall experience consists of the museum’s setting, any personal interactions that occurred, my analysis of my favorite work of art that I encountered, and my opinions on viewing art in person rather than through other material.

While some may view museums as homes of the dusty, decrypt, and decaying, I think back fondly to the memories I've made in them. When I was four and living in a small apartment in Shaker Heights, Ohio, my father would take me to the Cleveland Museum of Rock and Roll on the weekends when he wasn’t busy working on his MBA at Case Western Reserve University. Every time we visited, I would tell my father that I would grow up to be just like Elvis, to which he would laugh and scoff affectionately. When we moved to Glen Allen, Virginia when I was six, we would occasionally drive up to Washington, D.C. to the Smithsonian Museums. On some Saturdays, we would walk for hours through the halls of art I didn't understand (and still don’t really understand) at the Museum of American Art. On other Saturdays, we would go to the Library of Congress, where I would press my forehead against the glass of the observation deck—much to the dismay of security guards. But perhaps the most significant "museum" I've been in is just a short three-minute drive or seven-minute walk from my suburban home: the Twin Hickory Public Library.

For this reason, participatory learning derives from the desire of the museum to engage a wider audience and create collaborative learning experiences for the visitor. Like at the Yuma museum, it can receive a great number of people and accomplish the same goal. The exhibits vary enough to allow for free range of the museum with experience triggered by the artifacts, interactive exhibits, and the sensors that trigger additional information in the courtyards. Each level of interaction informs the viewer and allows for the people to gain a collective experience

This paper will analyze the iconography of two medieval works from the collection of the Metropolitan Museum of Art. Both of them depict the appearance of the resurrected Jesus Christ to his follower Mary Magdalene (Gospel of John 20:11-17). According to the Bible, three days after Christ died by crucifixion and was buried, he was resurrected. On that day, Mary Magdalene came to his tomb early in the morning, alone, and found the tomb empty. As she was weeping in the garden outside the tomb, she recognized a man she thought was a gardener, and asked him what had become of Jesus’ body. When the man spoke her name, Mary Magdalene recognized that he was Jesus Christ, who had been resurrected. As she reached out to embrace Jesus, he motioned for her to stay back, saying “Do not touch me,” because he had not yet ascended into heaven.

The layout of the 1500 square-foot space is physically divided into six areas corresponding with different colors on the floor. Five of the areas feature hands-on exhibits that use each of the senses as entry points for children’s personal exploration of Chicago history, and the sixth area is designed so that children can personalize their experience by leaving their own mark on the exhibition hall. This structure incorporates whole-body sensory experiences to communicate that every participant has the ability to explore and experience history all around them. The gallery presents sensory experiences that fall into two categories: past and present. By juxtaposing experiences that are familiar to children today as well as those which

The main culture building included artifacts in different categories. The first room was the information desk and gift shop. The two museum guides were unable to present a tour, but they happily offered any assistance if needed. The, the room at the right featured the first gallery. Rather than one category, the room presented relics

By each exit door, a small box requests that visitors write their opinions on the collections and what they would like to see in the future. The museum’s desire to be relevant in the community has shown, as locals were excited to see artwork that they had requested in an earlier trip.

As a spectator of museums, I appreciate going to see the exhibitions and immersing myself in the history; art and culture, rarely

Traditionally, research for museum exhibits has come from the fields of cognitive and behavioural sciences to look at the pull that visitor’s may feel towards a certain exhibit and how well the visitor was able to obtain knowledge from the exhibit (Lehn). Now, social informatics, the interdisciplinary study of the relationship between information technology and society, is also being used within the museum culture in order to understand how much better a visitor experience can be when done with technology. It also, however, raises the question of best for whom? The largest selection of patrons to museums generally are from the baby boomer generation with younger generations of Americans being the smallest section of museum participators. How can technology encourage the young without alienating the old?

A greater number of educators are looking to museums to help them attain their educational objectives. Howard Gardner has identified Bethnal Green Museum of Childhood as the perfect environment for stimulating the natural curiosity of a child. Furthermore, in response to demands for new educational approaches, older children are using museums to develop their critical facilities in art and design (Campbell, 1992).