The Between Interest And Action

Interestingly, the building is similar to a tepee in that there was a small window on the top of the rounded celling. Even the elevator was spacious and adorned with tribal symbols. Therefore, before one even enters the exhibit, it is clear that the narrative is one that celebrates culture. Even Atalay, a Native American author recognizes that “… the NMAI aims to ‘recognize and affirm’… Native cultures… and [advance] knowledge and understanding of those cultures” (Atalay 600). Thus creating a sharp contrast from that of the Holocaust. Despite the hardships and the genocide which befell the Native Americans, this museum has a different narrative to preserve, one rich with culture, rather than brutality. The differences displayed in architecture and design help effectively deliver each narrative because they visually and psychologically affect each visitor, adding a deeper layer to the story, effectively conveying each

The purpose of this paper is to visit The Metropolitan Museum of Art and write a reaction paper about art works at the museum based on my impressions about them. To begin, I will start by giving you a little of background information about this interesting museum.

When one marvels at a painting it is tempting to take in one section at a time so as to not miss anything. Certain work entices the audience to come forward, into the scene. Yet the whole painting in its entirety is made to be experienced from a distance, a place where the expanse of the scene can be taken in fully for all it was created to be. Certain brushstrokes or movements only come together when viewed from three yards away. An art museum is a sanctuary filled with these temptations. Each illustration depicts a different story that can only be fully understood once one stands at a distance, senses the mood, researches the historical background, and asks the question: “Why did the artist make the choices he/she did?”

This is an immense and actual task, for “[t]he achievement of a beneficial inter-action between the potentially conflicting expectations and aspirations of visitors and host or local communities, presents many challenges and opportunities.”13 I believe that within the museum world lies much knowledge and experience which is certainly relevant to further discussion and development of the relationship between cultural heritage management and tourism. Though my topic is connected to the field of cultural tourism, it has to be kept clear that this thesis is on museums and museology rather than on tourism. The reason is that cultural tourism is a form of tourism – it is not a form of cultural heritage management and is not a form of museum management.14 Museums can on the other hand contribute to cultural tourism as attractions, because they work with the cultural heritage, or even are themselves cultural or heritage assets. Therefore their input to the development in the field of cultural tourism is certainly valid. Though the tourism sector and the cultural heritage management sector, including the museums, actually do have

I learned that museum trips for the purpose of learning or not just to take time away from the school or as a “reward” for students; rather, the teacher must make connections to the classroom learning and see the museum activity as another resource method to engage children. As Erdman suggests, “Collaboration with a museum takes planning to ensure the process is effective for everyone. As with any aspect of education, goal setting and reflection are key” (p. 18). Moreover, I recognize the value of Erdman’s article is its germane inclusion of technology. Erdman’s discusses how more museums “are embracing the potential of a digital museum” (p. 17) and with more schools looking to use 1-to-1 laptops, could provide teachers with another avenue for student learning. Again, I recognize the importance for an effective incorporation of museum education will need careful panning because “Collaboration with a museum takes planning to ensure the process is effective for everyone” (Erdman, 2016, p. 18). In short, I recognize three important ideas from the week’s readings—connecting museums to early childhood development, my own understanding of the purpose of museums, connecting museums to student learning—provided me with a foundation and motivation to incorporate museum education to my

The museum’s Collections of the art turn out to rely on the contributions of passionate individual collectors. Both the museums were founded for the purpose of encouraging and developing the study of fine arts and are open for the public, and situated in the United States.(Walter 3)

The resurrection of former prisons across the world has equally captured the awareness of tourists and scholars alike. While prison museums, as a result of their bleak and in some cases disturbing subject matter, invert the “Disney” experience, they proceed to exploit a phenomenon known as dark tourism,” . . . in which people gravitate to sites associated with war, genocide, and other tragic events for purposes of remembrance education, or even entertainment,” (Welch, 1). Generated in order to convey the aforementioned purpose, the “museum effect” subjects visitors of the prison museums to a multilayered encounter with objects, images and space. Utilizing models such as The Clink, Alcatraz, Eastern State Penitentiary, and Seodaemun prison, this papers purpose is to illustrate the success of the museum effect in achieving its desired ends of remembrance through memorialization, education and culturalization through use of images and space, and entertainment through the use of objects.

The Executive Director of the Museum begins to restore this organization with clear point of view, that the

For this paper, I have chosen to physically explore the Salvador Dali Museum in Saint Petersburg, Florida. I chose this museum because Dali was such a great artist and energized person, I felt that I would be intrigued by his work the most. I was also eager to see more of his paintings that were not showcased in class or in the textbook. As excited as I was to visit the museum, I was quite disappointed. I was expecting color to be in every room, exciting design, and an overall fun feel since that is what I felt Dali would have been like. As I entered the building, there was a beautiful pond outside, seeing this, I had felt a false sense of satisfaction. When I walked in, there was the regular gift shop found in every museum, accompanied

Sometimes, we watch cultural movies or appreciate featured musics with confusion and misunderstanding. Most works of art and popular culture are more frankly represented in their native language. Listening to a song, reading a classic novel, watching a movie . We can deeply touch the original meaning what the art really displayed. For an instance. When I was a child, I wanted a documentary “ the art of Japan”. At that time, I was very depressed and confused why they will wear the weird clothes like that. They also wears a pair of wooded slippery. I understand the type of art when I studied Japanese. I have a more deep understanding on this art. Another example is more impressive for me. When I was first time to visit a museum. I was not ensure to understand the style of the construction,the history of relics and the legend of masterpiece. On the contrary, I read these books in Chinese.I tasted books at home. I was interested in Qing dynasty relics, I bought some books about Qing dynasty to learn the process of producing relics and coloring relics. Besides the Chinese the form of of each object and its adornment had meaning and significance. The dragon represented the emperor , and the phoenix, empress. Chinese words give me a better understanding. I like the charming culture and

The viewer can learn about the times the artworks were created, the medium used and the inspiration of the artist. While some artworks only have a fragment of presentation it is easy to gather a generic idea about the influence of the artist. The public presentation are the words of the curator which is easily noticeable through the friendly tone of text. The intentions of the curator are well represented in the smaller and in the larger public reflections and the openness of the contexts makes it easy to understand these intentions. These intentions show the viewer the different sides of the artist which makes his unique art.

When I am visiting the museum, I was trying to break everything down and notice the details. The Artworks that are displayed are very influential and have the power to give experience in the area of visual Art.

The ideas of anthropologist Nelson Graburn (1977) were embraced by the Commission on Museums for a New Cent,. He identifies three human needs that a museum can fill, one of which he terms as "associations]." The museum is a place where we can associate with each other, have a social experience and that shared experience becomes the visitor experience. Graburn is not alone with this idea. Sheldon Mnis (1986), a geographer who refers to the visitor experience as "symbolic engagements," describes a pragmatic space. The visitor and his/her companions become the primary symbol and the museum has little influence on the meanings that are created. "Being there in some particular social union is both purpose and product" (Annis, 1986, p. 170). Paulette

Contemporary museums and galleries often enlist the aid of guest curators for the creation of exhibitions because of their specific artistic insights and ability to bring together complementary people and projects. Hans Ulrich Obrist (2014) talks of curation today as an important job when it comes to creating shows that go beyond representing facts and knowledge. It has become a means for producing great experiences for people, and not only the audiences who visit these events. Artists involved can benefit from interactions with a curator they work with that understands their needs and can successfully work with them. Existing notions of curation include making judgements and creative decisions, and being a part of several areas that feed into public establishments such as galleries, including the marketing and management of events, and use of them for the purposes of education and even conservation (Arnold, 2015). This is much more involved in comparison to some history of display and earlier precursors to galleries and museums (which are important to even briefly consider as they help to inform the present state of these institutions). In ‘The history of museums’, Lewis (2015) discusses how there has, for centuries, been a tendency for humans to collect and question pieces of the world around them, and that this apparently universal need has long held religious, economic, and cultural connections depending on time and

suggests an interpretation of the value of art both on a universal objective level and on a subjective level, expressing the different roles art plays in different cultures. This duality of understanding the intrinsic value of art, parallels the interpretation of the characters’ misconceptions surrounding the transaction of the statue in the story.