The African Exhibit At The Art Institute Of Chicago

The 22,000 square-foot exhibition space contains more than 20 galleries. This museum showcases over 30,000 artifacts. The exhibitions are set up as a time traveling experience that takes visitors across hundreds of years and across the globe. The journey begins in Africa, the cradle of human life and continues on to the slave trade, and the contribution to African culture. In the end, the journey discloses with remarkable triumphs in medicine,

The reason I chose to go to the African Art Museum is because I have been there before and I enjoy my time when I go. The tours at the museum consisted of talks about certain pieces in the museum that fell in a category the tourist wanted to focus on. Nkechi Obi was my first tour guide and the title of her tour was “Docent African Arts”. Her goal throughout the tour was to show pieces of artwork that showed what Africans may have gone through in the past in slavery. One piece that she focused on that I want to highlight was “Southern Landscape” by Walter Williams Roots. In this piece there various things going on in the photo.

Once we arrived, we looked up possible exhibitions that we could attend. A museum employee recommended African textiles. After hearing the title, I immediately expected this exhibition to have complicated and precise components to the tiles. African textiles are, in fact, made of wool or fine animal hair in a weave patterns. Although the exhibit was interesting, it wasn’t what peaked my interest.

The piece is a standard vase with a narrow base on a supporting foot, which swells on the sides, running from the upper belly to the neck, and ends with a slightly flared lip. Looking closely at the vase, we can see that the decorator/painter decorated not only the belly of the base but also its base.

Since its founding, the Baltimore Museum of Art (BMA) has been exhibiting and collecting works by contemporary artists. They have an ever-expanding collection of 20th- and 21st-century art that I had the pleasure of viewing, following its remodel in 2012. In addition to the permanent collection, a new innovative experience called the Black Box gallery introduces a new way of viewing the works of contemporary artists. The Black Box allows the viewer not only to see the work in a new way, playing with light but also hear and experience images in motion. The exhibit I went to see was curated by Kristen Hileman, the senior curator of contemporary art, and it features two screen-based works as opposed to displaying one as it usually does. The two artists featured were Kara Walker and Hank Willis Thomas.Within their works, both artists discuss the feeling and experiences associated with being black in America, specifically the historical significance of the legacy of slavery.

The building at 111 South Michigan Avenue, home of the Art Institute of Chicago, was opened in 1893 as the World’s Congress Auxiliary Building for the World’s Columbian Exposition. The building was passed on to the Art Institute after the end of the exposition. Designed in the Beax-Arts style by Boston firm Shepley, Rutan, and Coolidge, building has become an icon for chicagoans an tourists alike. The Modern Wing, the Art Institute’s latest and largest addition to date, opened on May 16, 2009, and was designed by Pritzker Prize-winning architect Renzo Piano. The 264,000 square foot addition now houses the museum’s collections of modern European painting and sculpture, contemporary art, architecture and design, and photography. The new

During the late 19th and 20th centuries Blacks in America were debating on the proper way to define and present the Negro to America. Leaders such as Alain Lock, W.E.B. Dubois, Marcus Garvey, and Tuskegee University founder Booker T. Washington all had ideas of a New Negros who was intellectually smart, politically astute, and contributors to society in trade work. All four influential leaders wrote essays to this point of the new Negro and their representations in art and life. In “Art or Propaganda”, Locke pleas not for corrupt or overly cultured art but for art free to serve its own ends, free to choose either "group expression" or "individualistic expression.” (National Humanities Center) In W.E.B. Du Bois speech "Criteria for Negro

With ticket sales for the Van Gogh exhibit in high demand, it’s no wonder the Art Institute of Chicago has a reputation of bringing classic, contemporary, and modern pieces to life. Reflective of the works that are housed within its walls, the Art Institute has had its own fair share of history that is worth discussing. Surviving and rebuilding itself after the Great Chicago Fire of 1871, the museum has used its revival to continue to educate and build future artists through works around the world. The School of the Art Institute, a part of the museum, houses more than 3000 students. With the future of art being led through this museum through patrons and students, what will be the next great masterpiece?

For this DB, I will review the Small Ivory Chest with Scenes from Courtly Romances, explaining its meaning to its culture during its time, then comparing it to our times culture. The Ivory Chest consists of multiple Ivory plaques held together by metal strips, hinges, handle, and a lock. Boxes such as these were inscribed with various romantic themes, with this particular box romantic themes follows a single romantic story set in sequential episodes. The boxes were given to woman by either smitten men wanting to who them, or as wedding presents offered by a groom. Since products such as these would be reserved for those of higher class, these reflect both the possible joy, or sorrow that could come of marriages in a time were high class weddings

On Saturday, June 15 I attended the Civil War and American Art exhibit at the New York Metropolitan Museum of Art. There were a number of different people who were present on this occasion. I believe there were so many people there because this is one of the better known art galleries throughout New York. Additionally, the fact that today was part of the weekend probably contributed to the massive crowds of people present. Not everyone was there to attend the Civil War and American Art exhibit, however; there were several other exhibits taking place in different locations throughout the museum that day.

This is a nice piece of jewelry made of string of beads arranged according to a strict pattern. There is a crucifix on the end, then a small row of beads, one alone, then three grouped, then another alone. Then there's a small medallion. The loop is made up of beads grouped in tens, with each group separated by a space containing one single bead. So that's the physical thing.There are five beads from the crucifix to the sacred heart of Mary dividing the entire rosary into two exact parts from the center to the middle of the tenth and eleventh bead. The rosary has a metallic gold color. The first thing noticeable about this Jewelry is the warm color that has

     Among the many symbolic references in this work, Van Eyck alluded to the representation of hollowed ground by having the subjects remove their shoes and cover their heads. The shiny, clean mirror and crystalline beads depict the purity of the bride, while the single candle in the chandelier can represent the presence of Christ at the ceremony. The statuette of Saint Margaret can be seen as a reference to the woman’s role as wife and mother, and the clothing colors (green, blue, and white) are Late Gothic symbols of the affection of a lover, faithfulness, and purity.

The various uses of fonts, sizes, and educational literature is not only visually appealing to viewers, but also is a change of scenery many may be used to when visiting an exhibit. If the mixture of descriptive texts and labels of the items were the same font and size, the aesthetics of the exhibition would have been decreased a significant amount. The Amazonia display has an abundance of resources for guests to engage with. The use of audio, visual and interactive materials, engages those who visit to become more involved. The brochure is a critical element in understanding the political drive of the exhibition, almost to a point where the artifacts are merely seen as historical “accessories” to a more extensive message. “There is [this] urgent need to change course, and to realize a radically different world, one released from centuries of the domination of nature, a nature historically relegated to the status of “natural resources”, and Rights of Nature does exactly this (Demos, 4). It is not only the brochure provided that contains an abundance of information, but the texts within the exhibit are also seen along the entirety of the rounded walls filled with statistics of inhabitants and components associated with the Amazon. As a regular visitor of the Museum of Anthropology, I find that the curator's tactics and methods to create a sense of intertextuality within exhibitions, this by far is one of the highest I have been able to visit. The importance of aboriginal and

     The art exhibit was in the Gordon Hightower Library. The exhibit was on Thursday, April 10, 2002 and lasted all day long and is still going on. There were not many paintings, but the two main painters were Marlin Adams and R. Defamore. Adams painted portraits of fruit and people. Defamore painted a series of paintings that were all similar but very different and dark such as “The Victim- Talking Hand and Screaming Heads” and “The Hero-To Tell Or Not To Tell”.

The box is a ubiquitous object, a box of some kind or another can be found in every culture. For the purpose of this essay it will look at the box from a western viewpoint. Given the perimeters of this essay I will confine the discussion of the box to Art Therapy, as it is made, appointed or constructed in the art therapy context; and instead of clinical studies I will be using art as examples.