New Media Art With Its Intrinsic Characteristics

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Countless art has been sought-after throughout history. Explorers, scientists, art collectors, politicians, and entrepreneurs from Western nations have sought out and removed art from the lands of great civilizations, often with the assistance and participation of local people and governments. Even as cultural property faces immediate danger today in conflict zones like Syria and Mali, there is circumstantial evidence that some nations are awakening to the political and foreign policy benefits that can flow from the repatriation of cultural patrimony. While on a different scale from World War II, historic structures, religious monuments, and other priceless ancient times continue to suffer collateral damage and manipulation in armed conflict. Relics have been stolen, smuggled and sold in what is a reported multibillion dollar underground market. They have become the illicit prizes of private collectors and the subject of legal claims against museums. Of the countless museums subject to legal claims, The Metropolitan Museum of Art in New York City happens to be one of them. “The Metropolitan Museum has acquired thousands of works and objects of art from the antiquities”. “For the past several years, the government of Turkey has warned U.S. and foreign museums (including The Metropolitan Museum of Art), that unless ancient objects from Turkish soil are given up on demand, Turkey will stop lending artworks” (The Committee for Cultural Policy, 2015). Turkey continues to up the

The current documentation system at Blossom Creek is desperately in need of replacement. Currently, all documentation is done through the use of various paper forms and after being filed out and reviewed by the proper management staff members, the forms are put into an alphabetized

In 1988 the Senate decided to build a new Jewish museum, exactly half a century before the Gestapo closed the original museum. 165 architects entered the

Kehinde Wiley is a New York based artist whose paintings focus on the themes of empowering black men and combining classical and contemporary styles.

In Steven Lubar’s book, Inside the Lost Museum: Curating, Past and Present, the recurring idea that museums are “more than the sum of their parts” plays a critical role in the overall argument (329). Lubar notes many aspects that make up a museum, the collection, for example is an essential part of any museum, but the community, as well as the experiences of the patrons create a lasting museum experience. Additionally, Lubar aptly utilizes real-world examples, contemporary and historical, highlighting the work of individuals in museums and establishing a connection between past and current events. Central to this narrative is the example of the lost Jenks Museum. Lubar uses this museum to argue that museums of the past can educate museum goers

The community centered around the museum has a large Jewish base, some of them even work at the museum too. The most profound thing at the museum, for me at

The New-York Historical Society is one of America’s pre-eminent cultural institutions. It is devoted to fostering research, presenting history and art exhibitions, and school and public programs that seek to expose the dynamism of history and its influence on the world of today. The museum is also founded in 1804, and it is considered the oldest museum in New York City. New-York Historical has a mission to explore the richly layered political, cultural and social history of New York City and State and the nation, and to avail as a national forum for opening dialogues of issues surrounding the making and meaning of history. New-York Historical is known for attracting the public with deeply researched and far-ranging exhibitions, such as Alexander

Chris Carron is the director of collections at the museum. Carron said the goal of the exhibit was to help children understand their own religion and their friend’s religion. Children after seeing the exhibit will better understand why other people dress certain ways or celebrate different holidays. The Museum wants “to talk about religion without telling people what they should believe of even that they should believe,”

Instead of spending the following pages explaining why this exhibit is less tolerant then that exhibit, I would like to break this paper up into two parts: the first a discussion on the tolerance of the museum's Tolerancenter and the second on the tolerance of the Holocaust Exhibit. To begin, I would like to say that I have been to the MOT on several occasions and it really has not changed much since my last visit; however unlike all of

When the museums are brought the paintings Jewish people will try to fight for the painting because it was part of the heritage. Some museums cooperate and others do not and the battle between who the painting belongs to becomes an enormous court battle.

The manner in which a spectator responds to art and objects in a museum will differ, but what remains true is that each individual’s experience will undeniably remain their own (pg. 30). Conversely, the viewer may not be aware that the items on display have been carefully curated, sometimes in a way that places emphasis on visual interest rather than cultural significance. In Svetlana Alpers essay, The Museum as a Way of Seeing, she argues that museums establish their own way of seeing an object, something she refers to as the Museum Effect (p. 27). When an object is removed from its original provenience and placed in a museum, for display and consideration by others, the museum attaches artistic value and context to that item by making it an object of visual interest, rather than focusing on cultural importance (p. 25). In contrast, Carol Duncan and Allan Wallach’s reading, The Universal Survey Museum, contend that early museum models were built similar to ancient Roman temples and cathedrals becoming places of public spectacle that took great consideration to recognize state power. (p. 52). As a result, museums today continue to share these important characteristics, displaying works of art in a ritualistic manner, with their primary function being to impress upon those who visit it society’s most illustrious beliefs and values (p. 52).

Therefore due to the number of documents that will be introduced will be templates or have macros for ease of completion. As this can be quite complex I would enlist the services of an external consultant to ensure that the documentation functions as it should. After

In 2005, a former Getty antiquities curator Marion True was charged with conspiring to traffic in looted treasures. (Puente) Since this is the first time that an American museum was charged with a crime for buying art, it has raised questions and concerns that could possibly affect all the other museums. “The Getty got caught when attitudes and laws changed”, says Bill Pearlstein, a lawyer from New York who represents private collectors that do not want to see the end of the antiquities trade. (Puente) Marion True claims she is not guilty and that she did not know that the members of the J. Paul Getty museum bought looted artwork, however, after uncovering the fact that she obtained a personal loan from a Getty supplier to buy a villa, she resigned. Her actions were “not acceptable ethically or legally” (Puente). Art smugglers who obtain illegal treasures and sell them to museums with a false document of provenance will get

entering the general area of the synagogue, it looked like a school or a daycare, and then entering they had a simple directory for the main office for the school they held. When entering the building they had three areas where service could be held. When asked we were led, to what appeared to be, the smallest of the service rooms. Before entering the service they had a mini gallery of art pieces, such as sculptures, paintings, and specially designed emblems that they used for worship.