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Moxey And Cosgrove Analysis

Decent Essays

Within his book Visual Time, which offers an unorthodox approach to the study of art history, Moxey writes: “The history of art faces the disconcerting possibility that the time it imagines, history’s very architecture, is neither uniform nor linear but rather multivalent and discontinuous (Moxey 1)”. Indeed, though time within the practice of art history may in actuality be anachronic, or without a distinct order, it is not regarded as so at Wellesley’s Davis Museum; here, the architecture of time is as linear as the physical architecture of the museum’s modern exterior. The physical and representational mapping of the Davis’ use of chronological time is especially present by floor layout. The permanent collections are on the second, fourth, and fifth levels. Segmented by geography, which both Moxey and Cosgrove discuss, the second floor’s collection of art and artifacts dates as far back as 2000 BCE and encompasses six of the world’s seven continents. It is important to note that the stairs are set at the heart of the museum, allowing museum goers to approach a floor’s collection from four different starting points. Though probably not intentional, this somewhat equalizes the collections featured on the second floor. Each geographic location are quartered off into makeshift galleries with the two largest being the African and the …show more content…

The former illustrates Moxey’s ideas regarding translation, conversation across eras. The later also does this, as some of the medieval pillars are the victim of spolia, and are in fact roman pillars with medieval capitals. Also, putting medieval work, the quintessential western era, in a wing gallery devalues

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