Stark Museum of Art

national reunification of South and North Korea. The piano in question uses barbed wire pulled from the inter-Korean border (a literal symbol of the nation’s division) for its strings, and will be exhibited and performed on in public at Seoul Museum of Art in central Seoul. All of the wires used in the piano were taken from the border fence while some changes were made to one of the pianos to allow it a greater range and sound accuracy. The Piano of Unification uses barbed wire pulled from the inter-Korean

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

‘While artists and the art trade were in the business of presenting the new, this was a conceptual challenge for museums.’ (Altshuler, 2008, 15). Discuss the challenges that advanced artistic practice presented for museums in the late 19th and early 20th century. The period of the second half of the 19th and the beginnings of the 20th century saw some of the most extensive transformations in the art market and the institution of the art museum in history. With the rise of the avant-garde and new

many museums that prefer to display art in established ways that do not necessarily reflect the artwork’s original intent and use. Instead, museums often adopt the notion that art must be kept in a sterile environment void of environmental influences to preserve its true nature. The journal article, The Predicament of Diversity: Multiculturalism in Practice at the Art Museum, a peer-reviewed, case study, published in 2005 and written by Ien Ang, studies a 2001 Buddhist art exhibit in the Art Gallery

Institute of Contemporary Art “How do you make a building for contemporary art that stays contemporary in the future without stooping to a neutral language? And how do you attract a big public without compromising the selfish, private, exclusive time we all want to have in a museum?” These questions, put forward by Elizabeth Diller of Diller Scofidio + Renfro, represent the urbanistic motivation supporting the construction of Boston’s Institute of Contemporary Art (ICA). In such a manner Boston’s

temporarily transformed into an abstract expressionist's workshop. Rockwell was captivated by the idea of portraying the relationship between conventional and modern art, juxtaposing his own style alongside a work of nonrepresentational art. Standing with his back to us, Rockwell allows the viewer to decide for themselves what they think the museum visitor’s reaction is to this Pollack-like painting, and indirectly so, what their own opinion is. At the time, Pollack was the latest buzz and one of the

Schiaparelli Beachwear. The amount of contrast achieved within the photograph is frankly astounding. Huene’s reference to Cubist analysis of shape surfaces with the the deep black and stark white zig-zag of the stairs providing a simultaneous division and harmony as the eye is lead through the composition. The stark contrast flawlessly unites the composition, paralleling to the pattern-rich top and shoes contrasting with simple shorts and male clothing being advertised. Huene was certainly

Below is how it became one of my favorite works in the museum. I hope that as a docent I will be there when the right tour group or visitor experiences it in the same way. Why this work of art is interesting to me. What is so striking to me about this painting is that it is so self-effacing. As I pass by I ask myself if it even deserves a second glance, let alone an extended stop in the relatively short time that I have carved out for this museum visit. How can it compete with De Kooning’s snarling

Sarah (Sierra) Adrian Art 104 TTH 5:30-6:45 Virtual Exhibition Paper Section 1: Curatorial Theme & Artists Our curatorial theme is environmentally conscious and sustainable art. The two artists of my choosing, Nathalie Miebach and Olafur Eliasson, make artworks that are inspired and informed by the environment in ways that are somewhat nontraditional for environmental art. Nathalie makes sculptural representations of weather data from storms; Olafur Eliasson makes works that examine the viewer’s

The Drouth Stricken Area was painted in 1934 by Alexandre Hogue, currently the art piece located at The Dallas Museum of Art l in the American Art section level 4. The size of the art is 30X42.24 in. It is an Oil on canvas. Just by looking at this painting, and without reading the name of the painting, I immediately see from the components of the painting there was a trouble. This painting describes the devastation period of 1930’s mainly the effect of the depression and tailed by drought. All