The Great Exhibition Of 1851 By Louis Haghe, Joseph Nash And David Roberts

Never before have I seen a museum as grand as the Metropolitan Museum of Art in New York. From its architecture to its massive art collection, The Met has a little bit of everything and one is sure to find something that captures his or her interest. Considering that The Met is the United States' largest art museum, it is easy to get lost within its many corridors and wings. My visit to The Met took place during the last week of July. Despite the almost unbearable heat and humidity that hung in the air, visiting museums under these climate conditions is a welcome respite from a suffocating, yet bright summer afternoon.

Positioned alongside Central Park in the heart of New York City, The Metropolitan Museum of Art is one of the largest and most influential art museums in the world. The Met houses an extensive collection of curated works that spans throughout various time periods and different cultures. The context of museum, especially one as influential as the Met, inherently predisposes its visitors to a certain set of understandings that subtly influence how they interpret and ultimately construct meanings about each individual object within the museum. Brent Plate in Religion, Art, and Visual Culture argues that “objects obtain different meanings in different locations and historical settings.”An object placed on display behind a glass case inside a museum would hold a vastly different meaning if it was put on sale by a street vendor, like the ones who set up their tables in close proximity to the Met. The different meanings that objects are able to obtain is attributed to the relationships that are established between the object itself and the environment that surrounds it. These relationships often involve the kind of audience that a museum attracts, where the work is exhibited, and how the exhibits within a museum is planned out. Museums subsequently have the ability to control how these relationships are established which influences the way a viewer is able to construct meaning. When a visitor observes an object on display at the Met, they instinctively construct a certain set of

This engineering feat paved the way for expansion and social changes that would make America one of the industrial giants of the world.

If there is a travelling exhibition, it’s always a good idea to see it while you have the chance. Then, if you have time, you can look at other things in the museum.

Within such assemblage museums and their unsettled artifacts can be situated as affect- image (83). They are not fixed and static places which contain unsettled objects. They can depart from the common sense world and organize systems that control appearance and relationships and suggest the future. Museums select what they represent and; consequently, excludes parts of history according to their interests. This resembles the white policy which stresses and enlarges a specific trait in the colonized and excludes any implication of positive traits.

When a museum has prestige on a national level, they can be under high scrutiny of exhibits or objects displayed by the public. Controversial topics, for example, the Enola Gay exhibit, has left historians hesitant and confused on how to create exhibits with correct history, but also not upsetting any individual who were involved with said history. Historians have a trying task of addressing both sides of a historical event, even though it might depict individuals in an unflattering way. A historian is not allowed to have a bias for events, this could have an impact on the way an exhibit is created. Another point that was brought to light in Bunch’s article was museums have the ability to educate the public, so difficult topics should not be

The first room of the museum pulled in the audience with artwork from the 20th century. Although it may seem like artwork put together at the last minute, if you look closer, you will see something entirely different. Each piece had so much detail and unique qualities, such as style and art form, that you haven't see in many other museums before. It is important to appreciate the erratic design and character of each piece of art, but after seeing the entire museum, it is easy see the monumental difference between art now, and the art of our past. Art of the past showed a lot more

of the way they were placed to be seen. (2) Both museums are situated in ‘wealthy’ areas of New York City and thus indicate that there may be an association between the grandeur of museums and wealth or sophistication.

I hope to see museums make more concerted efforts to educate the public. Too many exhibits are of the “passive, didactic looking” than like the engaging Object Stories program (Dartt, Murawski). Exhibits should seek to tell untold narratives, and programs should be places of communication and cross-cultural encounters. For too long, difficult confrontations have been avoided, both inside the museum, and by dominant communities

After arriving and going through the security screenings, I proceeded to go down the stairs, entering the exhibit itself. Before even observing anything specific, it was immediately realized that this was no typical museum. Most people know that upon arrival, but only when you first enter the exhibit do you realize that this museum is not one that inspects the past, but one that reminds us of it.

The Dallas Museum is a renowned art museum established in 1903 and is located in Dallas, Texas (Neumann et al. 19). The Dallas Museum of art is one of the largest art museums in the United States of America containing more than 24,000 collections of art ranging from the ancient to the modern ones (MacDonald & Brettell 112). There are numerous things inside the museum, such as the pieces of art, museum visitors, and the architecture, that relate to the understanding of the world outside the museum in terms of the day to day life and the human society. My goal in this essay is to think outside the box and describe the observations I made inside the museum and explain how they relate to my everyday life, the wider world, or the human society.

To me, museums serve as trains that deliver goods that are arts to people. Art can be perceived as a mean to entertains our life, reflects customs and communicates thoughts, ideas and emotions and it’s museums job that bring them closer to people. There is a huge difference when it came to seeing the artwork in person and seeing the artwork from a book or website and magazine. You will never be able to feel a piece properly when you see it in the textbook, you will never understand how the color was put together and what is the meaning behinds it, you won’t see how the lines and curves are blend together to make the painting look perfect and how strong that art can affect you in emotion. Many people nowadays don’t even bother watching the art themselves, they rather listening to what critics have to say about the works in their own perspective and can’t even make a decision themselves whether or not they should see the arts. “An ounce of image is worth a pound of performance”, in my opinion, I think we will never know what is good until we see it

While some may view museums as homes of the dusty, decrypt, and decaying, I think back fondly to the memories I've made in them. When I was four and living in a small apartment in Shaker Heights, Ohio, my father would take me to the Cleveland Museum of Rock and Roll on the weekends when he wasn’t busy working on his MBA at Case Western Reserve University. Every time we visited, I would tell my father that I would grow up to be just like Elvis, to which he would laugh and scoff affectionately. When we moved to Glen Allen, Virginia when I was six, we would occasionally drive up to Washington, D.C. to the Smithsonian Museums. On some Saturdays, we would walk for hours through the halls of art I didn't understand (and still don’t really understand) at the Museum of American Art. On other Saturdays, we would go to the Library of Congress, where I would press my forehead against the glass of the observation deck—much to the dismay of security guards. But perhaps the most significant "museum" I've been in is just a short three-minute drive or seven-minute walk from my suburban home: the Twin Hickory Public Library.

The Cinema of Attractions is based on an exhibitionist paradigm (Gunning, 2004: 44), where it seeks to knowingly addressing the spectator and provide its spectator with a series of views or selective information (Strauven, 1999: 49). The cinema of attractions existed primarily between the years 1895 and 1906 (Strauven, 1999: 38).

‘Imagine you were in charge of a museum’s collecting policy. What would you chose to collect and how would you justify these decisions?’