New York 's Jewish Museum

Throughout centuries, museum practices have always been eager to reflect the ever-changing ideas in art and society. In Europe, many artistic, intellectual and literary movements have inspired museum practices, not only in terms of aesthetic values but also in evoking certain philosophies. By 19th century Europe, Romanticism began to shape many institutions outlook on art, specifically the museum’s way of engaging with new forms of themes that move beyond the artworks. The aim of this paper is to analyze the profound impact that the Romantic Movement of the late 1700s and early 1800s had on museums in Europe during the 19th century, thus accepting the era’s emphasis on museums as public, social experience that reflects the feelings and emotions towards society. The practices in museums of the 19th century have been greatly influenced by the ideals of the late 1700s and early 1800s Romantic Movement. In this case, we must begin with what Romanticism is and how the core values enthuse the practices of museums.

The Metropolitan Museum of Art is an extraordinary New York site. For me, the Egyptian exhibit is especially meaningful because it engenders personal pride in the contributions of my ancestors and challenges me to use my talents to impact society in a positive

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

Author Svensson of “On Craft and Art”, believes that by giving back artifacts of cultural importance it will mean better environments for it to be in, and become a tourist attraction for these countries so they could get more money. Svensson also thinks that for the indigenous peoples that now have museums could finally have something to attract more people and promote sharing of the artifacts between other museums(par. 1). Along with Svensson’s ideas there is also a problem with stopping museums from buying stolen artifacts and refusing to give them back. Henrik Bering noted, “The traditional museum concept of universalism, the British cultural-policy adviser Munira Mirza points out, is now associated with "imperialistic values" and the theft of other peoples' identity, for which there is said to be only one remedy: to hand back our ill-gotten gains”(par. 16). Some museums feel it necessary to keep artifacts because they believe they could provide a better more suitable environment for the ancients works, underestimating the country of origin. Having a bias towards themselves when the country of origin could do just as good, possibly better. Museums shouldn’t hold antiquities for ransom and instead give them back to share with, and help, the

Take me (I’m Yours) aims to create a democratic space for all visitors to take ownership of artworks, and curate their personal art collections, by subverting typical museum practices. Visitors constantly transform the landscape of the galleries, bit by bit, through direct engagement, eventually the exhibition will disappear entirely. (Museum, 2016a) “Take Me (I’m Yours)” is an “extremely radical exhibition that really

Because of this, it is important that those responsible for the selection of artworks to not only consider the historical value of each exhibit, but also the possible revenue. It is important to avoid a “lack of consensus about the composition of . . . permanent collection and the direction [the] collecting should take in the future” (Source A). Without careful consideration, “financial woes [will be] exacerbated by a poor management structure, a result of a decentralized system” (Source A). However, the subject of money also brings criticism; some believe that financial gain is an “unlawful and immoral spoliation of art” (Source F) and “[a] work is chosen for reproduction, not because of its place within an educational context, or because of its intrinsic aesthetic worth, but because of its marketability” (Source D). While this is a valid thought, we must remember that if a work of art was not culturally and aesthetically appealing, it would fail to bring in funding anyway as its popularity would decrease. The biggest “money-making” displays are successful because they are appreciated by such a large audience, thus “achiev[ing] the proper balance whereby the educational goals maintain their ascendancy and the profits grow” (D). If a museum was truly run by greed and a desire for financial success, the public would lose interest in the lack of historical context and the museum would ultimately become bankrupt regardless of how “financially adequate” the works of art are. Because of this harmonious balance, museum representatives must carefully select works of art that attract enough visitors to shovel in profit and consistent funding for such historical and artistic

A museum is the house of the Ancient Muses. But for us, since the 19th century, a museum is much more than a house of bunch of semi divine chicks with weird hobbies: Calliope (epic poetry), Clio (history), Euterpe (flutes and lyric poetry), Thalia (comedy and pastoral poetry), Melpomene (tragedy), Terpsichore (dance), Erato (love poetry), Polyhymnia (sacred poetry), Urania (astronomy). We consider museums as places of solace and quietness, places were beauty and history collide to give a special experience.

Nonetheless, Kickstarter is not the only accomplishment of Chen, he also co-founded the Southfirst Gallery in Brooklyn, New York, and a charity called ‘Dollar a Day. It is an organization meant to support non-profit organizations, as well as encourage others of helping out organizations to be discovered and supported. Additionally, Chen was a TED Fellow in 2010, in 2013 he was on the Time's list of 100 most influential people and in December 2014 he held an exhibition at the New Museum called Computers in Crisis. Furthermore, he has been a part of the Director's Fellow at the MIT Media Lab, since 2016. Finally, he was also a part of the Laboratorio para la Ciudad or Laboratory for the City, which was an experimental program for civic innovation in Mexico City in 2014. Consequently, Chen was an American entrepreneur who greatly contributed to his community and revolutionized how people raise money for their ideas and

The return of the Parthenon Marbles is not the first case of a museum returning artworks to their country of origin; in fact the Wright Brothers’ aircraft and the Ethiopian Manuscripts are a few which have been returned (6). The side for returning the sculptures argues that the return of these objects did not disrupt or change big museums (6). It is not a matter of preserving and keeping big museums the center of the world, it is a matter of ethics and giving countries what is rightfully theirs. The opposing side argues that if the Parthenon Marbles were removed from the British Museum, museums all over the world would be forced to return other artworks from where they originated (5). They argue that the concept of a museum, which means collecting object and artworks from different locations, would be lost

New ideas to some are downright scary, in part because they challenge traditional professional standards, roles, and practices. Now local museums have entered an era in which it is more important to “do the right things” by demonstrating that museums, historic sites, and cultural organizations matter to their communities. The traditional activities of collecting, preserving, researching, exhibiting, and interpreting are simply no longer adequate. In this day and age of social media, let’s face it-- people want to be

The first article by Nancy Parezo analyzed the importance anthropologists have had in museums and their influence in the exhibits (2015). Anthropologists have assisted by helping various and distinctive groups and societies express their stories in the form of

One of the most inspiring exhibition that I’ve never visited, but it’s one of my biggest dream to see in real life is the exhibition by Marina Abramovic ”The Artist is Present”. I found out about this exhibition in my performance class in jazz class. We watched the entire movie about this exhibition, and Marina Abramovic’s life. I was really inspired by the unique concept of this exhibition. Her work explores the relationship between performer and the audience, and the possibilities of mind. Marina Abramovic was sitting in a chair, and each individual from the audience was allowed to come to take the chair across from her. There was no talking allowed, just sitting in silence. A lot of people reacted very emotionally to this silent moment

The piece 160cm Line tattooed on 4 people by Santiago Sierra is displayed in the Tate Modern within the exhibition titled the Art of Participation. The exhibition contains a collection of pieces that explore how far artists can push their audience to interact with their work, each of the pieces explore different debates

Museums were established for the recognition and preservation of historical artefacts. With this in mind, when the audience views an object in a museum, they may recognise it as being historically important and other works not exhibited, especially by female artists, fail to reach recognition due to the exclusion of curators and art collectors’ prejudiced opinions.

Anat Hecht, on the other side, is an outsider to the British culture. She is from Israel and works at the International Institute of Holocaust Research, University of Haifa, Israel at the moment. Her primarily interest is in museum studies and consumption. In her dissertation she provides detailed description of the methodology and the rationale used in her study as compared to Anna Kuranicheva’s work.