University Art Museum

As Edgar Degas once said, “ Art is not what you see, but what others make you see”. The St. Louis Art Museum is a place for artist to display their art and give spectators the option to see art from a new perspective. This was the case for me. As we walked up to the beautifully structured building that stood so tall and wide, my expectations were extremely high. At first glance I notice the bronze statue of King Louis IX of France riding high on his horse. From this statue alone, my expectations of the art museum grew stronger. I have never been to an art museum before, so I wasn’t sure of what to expect. My first expectation was to see huge detailed sculptures right as I walked through the door. That expectation didn’t come true.

The Carnegie Museum of Art was a museum created to focus on the art of tomorrow rather than already popular art and artists of today. A necessary part for that dream of Andrew Carnegie to become a reality is having a place to house these art pieces. While of course he could have just found an empty warehouse and placed all the art there that would neither have given the pieces of art justice nor would anyone want there personal collection to be placed on display there. Instead, in order to have a successful art museum you have to house the art in a place that does it justice. Museums heavily rely on their architecture to accurately portray and supplement the showpieces within the museum. Carnegie’s art museum

One of those negatives is that the museum is misunderstood, so they have very few visitors. This is bad because the museum cannot present their works of art to anybody. Few people know about the museum, and the people who do know think it’s boring. This is because often people have the stereotype that only traditional people can go to museums. However, by creating advertisements, and by raising money for the art curator so that they can pick art that is more interesting for the neighborhood, people will be attracted to the museum. Also, as a student, my advice is that they need to make the museum more visible because before I did not know that there was a museum in Manhattan that represented the Hispanic culture. However, now that I am doing this work about the museum I have realized that the Hispanic Society of America is very interesting and an incredible museum to know, and because of that, we have to do campaigns and field trips to make the museum more

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

The school itself caters to more than 3000 undergraduate and graduate students. Focusing on the now and future of art, students have not always aligned themselves with the museum. The museum’s emphasize of studying pieces of the past have conflicted with new art creations. This was seen in 1965 when a strike arose from faculty, as the direction of the school from leadership was not meeting their vision of art. Although many disagreements have arisen over past direction, much has changed. Allowing for the school to essentially to have its own identity and to have harmony with the museum.

I had the opportunity to visit this museum before and I was very impressed and overwhelmed by the quantity and quality of the things I saw, however, this time during my visit, I gave critical attention to the East Wing Building of the art gallery. I was utterly amazed by the new pieces in the East Wing, which led

But, I also agree with the movement directed towards moving away from a Euro-centric view, but that should by no means discredit and limit the size of the exhibit. As introduced earlier in the report, the artwork was mainly consistent of portraiture painting, not giving a lot of variety to the other styles of artwork at the time such as landscape, still life, drawings, architecture, and sculpture. Although art was mainly representative of the wealthy during this time, it would have been nice to see more common–life paintings that bring in the connection to the average person visiting an admission free museum. The price for admission was nothing to scoff at, due to the high quality pieces on display, admission should be taken to make the museum appear more prestigious. In general, however, the museum was well-kept and cleaned thoroughly, but the majority of commentary on the artwork must have been seen as trite, as there is not a lot of commentary. For the general accessibility and these positive gems of artwork, I was thoroughly impressed to find such a great repository of the

Question 5: A good crisis communication they should have in place is to have any sort of apology ready to go sense this a museum and people can get hurt by some of the displays. With a formal apology always ready the museum can show that they care about their stakeholders

I recently read your reaction to the new Getty Museum. I found that your opinions about J. Paul Getty’s museum align with my thoughts about the museum. You said the outer aesthetics of the museum provide people with a “heated art controversy.” You said that a museum must not portray a non-neutral or partial nature between the museum’s looks and its content. My perception of the museum falls under the relation between a statue and its pedestal. Most people observe and admire statues that sit atop a simple, uniform pedestal. But, when the pedestal receives a makeover making it highly glorified, the spotlight slightly shifts from the statue onto the pedestal. People don’t lose complete sight of the statue, but people still appreciate and admire

The overall environment of the museum was very calm, quiet, and welcoming. At times it became a bit awkward to talk too loudly to one another because of how empty the museum was. Only two other individuals were at the museum while we were there, therefore, not many employees were around. Although, the employees that we did have very short encounters with made sure not to overbear us or be too assertive, they knew when to ask questions and when to approach us to offer help. This makes complete sense because the ultimate goal of the employees was to answer questions and explain artwork at the visitors’ discretion. Different employees were more educated on specific rooms and art pieces. This allowed us to

It was 3 o’clock on a tuesday. Seeing that it was nearing closing time, all exhibits in the museum were nearly empty. Room after room of artwork had no one in them, except for the few security guards scattered here and there. Wanting to see everything, I left behind my family and rushed through the vast museum.

I have applied for the position of curatorial assistant because I have a genuine love of the arts, from studying History of Art both at school and then later on at the University of York - and this job will allow me to have a fully immersive role alongside the collection team at a crucial time for the Royal Academy. The Royal Academy plays a much broader role than a museum or gallery by promoting the practise of art alongside its exhibitions and the creation of the new Lecture Theatre will add a further dimension - this is something I greatly respect and would love the opportunity to help orchestrate and raise public awareness of the uniqueness of the RA in the lead up to the RA’s 250th anniversary.

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

It has been observed that the U.S. has been struggling with poor diversity in the curatorial position in art museums where non-white individuals have a tradition of being segregated thus, discouraging them to pursue professional courses that would lead to serving as curators in art museums. However, the government initiatives such as through the interventions perpetrated by the Mellon’s foundation, the rise in minority trainings as curators is likely to spearhead a future closure of the gap between the white curators and the black, Asian and Hispanic categories thus enhancing institutional diversity with regard to racial and ethnic diversity.

Historically, museums have relied on four sources of financial support: individual contributions, corporate and foundation support, earned revenues, and government grants. This paper focuses on present day corporate support for art and the museums that collect and display that art. It urges museums to reassess their assumptions about corporations and suggests ways that museums can develop new approaches to align their solicitation of support with changing corporate objectives.