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Management theory
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In every museum, each exhibition represents a series of decisions that some individual or group undertook to compile a series of artifacts together in a display. Often times people fail to recognize the amount of time and several steps one took in order to assemble each arrangement. Source A, source B, and source C each mention different, crucial considerations one mast take into account when facing the responsibility of securing a new artifact for a museum. Source A mentions the financial issues that were taken into consideration behind the creation of the Museum of Modern Art. Although a shortage money was a big threat to the institution, management was an equally important force that the Rockefellers needed to turn their attention to. David Rockefeller begins by saying, “The recurring operating deficit is $1 million a year and is worsening.” (source A) Even after an endowment of $25.6 million, the deficit continued to grow and financial issues become increasingly worse. The financial crises at the Museum of Modern Art was caused by poor management by having each exhibition be in charge of acquiring their own artifacts and programs. This resulted in trustees donating only to …show more content…
Peale's Museum was dependent upon public involvement for its success. It explains in the article that, “Peale’s Museum was notable as a private institution devoted to, and reliant upon, public patronage.” (source B) Peale collected artwork from many different places starting with small samplings of curiosities from in the 1780s and then gathered scientifically classified specimens in the 1820s. Along with displaying different works of art, Peale offered his visitors performers, a zoo, and biological oddities such as a two headed pig. Peale believed that the most efficient way to create a successful Museum was to collect different forms of art along with performers and entertainment. He prioritized the visitors needs for their enjoyment and
Baxandall, Michael. "Exhibiting intention: Some preconditions of the visual display of culturally purposeful objects." Exhibiting cultures: The poetics and politics of museum display (1991): 33-41.
Duncan’s (1991) analysis of western museums is defined through the theme of “durable objects” as a criterion to judge the heritage of American and European art as a ritual of the modern state. In this manner western art museums are built like “temples” as a symbolic and figurative representation of greatness of western culture throughout the world: “[They] are more like the traditional ceremonial monuments that museum buildings often emulate—classical temples” (Duncan 90). This interpretation of American/European museums defines a dominant source of cultural heritage that ritualizes
...an picking the artifacts. Although I did learn about William Morris and his designs in my history classes I learnt about the concept behind his design decisions and in depth analysis of Morris’s evolution as a designer only when I started working on this exhibit. It is imperative that you do research before arriving on any decision in regard to putting up any exhibit. Furthermore after analyzing the different options, it is imperative that you have facts to back up your decisions of the artifacts chosen. Every artifact that you pick for your case should have direct relation to your concept and it should be consistent among all artifacts. Overall a lot of thought should be put into the exhibit and the concept must reflect the ideas distinctly.
For years on end, countries have been fighting with big museums from other countries for ancient artifacts that belong to the original countries. The argument of whether or not the museums should be able to keep them still remains. It is the right of the country to have their own artifacts. It is imperative for countries to be able showcase their historical artifacts, therefor museums should return them to their rightful owners.
Architecture is the manifestation of many intangibles. The museums in Ontario such as the Royal Ontario Museum (the ROM) and the Art Gallery of Ontario (the AGO), both illustrate many intangible force – the vision of the architects, the ambition and hope of the clients, as well as the resolve of the community, etc. These two representatives of Ontario public institutions have both gone through transformation from the classic style to the contemporary one.
The Metropolitan Museum of Art came about as an idea from Jon Jay in Paris, France in 1866 with the idea of “national institution gallery of art” within the United States. Once this idea was proposed, it was immediately moved forward with his return to the United States. With the help of the Union League Club in NY they began to acquire civic leaders, businessmen, artists, and collectors who aided in the creation of the museum. For over 140 years, the visitors who go here have received everything the mission of the institution states.
In Stephen Weil’s essay, he argues “the museum’s role has transformed from one of mastery to one of service” (Weil, 196). According to him, museums have changed their mission from one that cultures the public to one that serves
The “superstar” museum gained this status by considering every important detail during its establishment and initial phases of conversion from royal palace to museum (Gombault, 2002). As the purpose of the building changed, each room addressed new functions with new requirements. Although the function of the Louvre is different from the building’s original intention, the building is still appears dignified and important enough to display priceless artifacts and painting (Steffensen-Bruce, 1998). This consideration was applied in designing the Met. The Met looked towards the South Kensington Museum (Victoria and Albert) and the “ideal role model” due to its extensive collections and international reputation (Heckscher, 1995). The Met found itself in a similar situation to the South Kensington, because it did not have a building or a collection to start with (Heckscher, 1995). When designing museums, architects strived to create monuments that “prepare and educate the mind of the visitor (Steffensen-Bruce, 1998).” Education is an essential function of a museum. Acquiring, preserving, and properly displaying materials, permits a museum to fulfill this duty (Steffensen-Bruce, 1998). For instance, lighting is a factor that affects the manner in which artwork is viewed and can be properly appreciated. When determining the proper lighting for the Louvre, Comte d’Angiviller, strongly believed that natural, overhead lighting was the most effective solution (McClellan, 1994, p. 72). The same determination impacted the decision to add skylights at the Met. During the initial phase, architects Vaux and Mould, added skylights to the upper floor, and windows to the lower floor that provided a natural light solution (Heckscher, 1995). Additionally, glass-roofed courtyards provided “unimpeded light” for displaying
...troversy as all countries have lost, to a great or lesser extent, treasures of national renown and significance over time. Wars, theft, treasure seeking, changing boundaries and migration have all in some way contributed to this diaspora of art. There is clear evidence that the historic placing of objects in locations remote from their origin has on occasion afforded protection and preservation, The Elgin Marbles in The British Museum being a case in point. However, given the overarching principle of self determination it is difficult to argue that serendipitous historic placement is sufficient reason for items of true national heritage to be kept indefinitely. A world-wide system of touring exhibitions and cultural exchange, with context being provided by the originating society may provide the natural progression to the accessible widening of people’s experiences.
The Museum Of Modern Art “MOMA” was firmly established on 53rd street in 1939 in Midtown Manhattan New York, after a decade of moving due to its growth in modern art pieces. Originally Patrons Miss Lillie P. Bliss, Mrs. Cornelius J. Sullivan, and Mrs. John D. Rockefeller Jr. wanted to establish a program dedicated to modern art in the late 1920s. A. Conger Goodyear, Paul Sachs, Frank Crowninshield and Josephine Boardman Crane, whom later became trustees, created the Museum Of Modern Art in 1929. It’s founding Director, Alfred H. Barr, Jr. wanted the MOMA to be "the greatest museum of modern art in the world." Its intent was to provide ordinary blue collar individuals with a better understanding and acknowledgment of art in its era.
While Museums changed their approach during this progressive turn, academic historians were not actively involved in the beginning. John Cotton Dana, founder and curator of the Newark Museum, called for a change in focus for all museums in his 1920 book A Plan for a New Museum: The Kind of Museum It Will Profit a City to Maintain. He stated, “A museum is good only in so far as it is of use.” A museum’s value did not lay in beautiful, rare, and objects from long ago and far away places, but in objects and displays that both reflect the current population and educates them. Marjorie Schwarzer notes, “Museums would do better to create activities that catered to everybody, he (Dana) declared, especially the factory workers who were building
New museology is the modernisation of museums. New museums are made to be more interactive and more interesting for the visitors. Displays in the museums are no longer covered in glass and people are encouraged to look more closely and interact with displays. The museums are brighter are the displays...
A curator needs to be able to negotiate and be willing to compromise, as it is often the task at hand to borrow from museums or other locations. Teamwork and flexibility are also valued, as the job isn’t completely independent. Museums are designed for public enjoyment, so good communication a...
Museums are always known as a number one destination that perfectly fit for a school trip. According to the official website of the Canadian Museum of History, the museum‘s mandate is to improve the knowledge of Canadian culture and history, also to educate the current young generation to have an adequate understandings and respects to the world cultures and historical events as well as the Canadian in specific. (About the Museum, 2016)
People claim that it would be better to keep the artifacts in their original location rather than transport them to museums. But is that really true? Once we’ve explored all the options, it is clear that it would be better to leave the artifacts in their original location. First, it is disrespectful to claim artifacts from locations as their own, even though it may have been a personal item for people who lived there. Second, organisations and countries are claiming artifacts and relics as their own, sparking fights and controversy between countries.