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Metropolitan Museum of Art introduction
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Recommended: Metropolitan Museum of Art introduction
Art museums, like any other art organization wants to reach a wide span of audiences. Many want to enhance the lives of people around them. However, when museums put a price on admission they cut out the audience that cannot afford to pay to see the admission. Therefore, some museums have adopted the pay-as-you-wish admission where admission is purely donation based. Pay-as-you-wish admission is good for a museum for a few reasons. It creates a diverse audience by serving all of the public. Also, it is financially good for the museum. This paper will demonstrate why the pay-as-you wish admission is good for museums through a few articles about the Metropolitan Museum of Art in New York and the Children’s Museum of Tacoma.
The first article is called The Case for Free Admission and was written by Casey N. Cep. The first half of this article talks about the National Cathedral in Washington DC that recently went from free admission to charging tourist to enter. The second part is on the Met’s pay-as-you-wish admission. The focus of this paragraph will be on the Met, however, there were some points made about the cathedral that should be included. Cep talks about how critics are afraid that with the cathedral charging an admission fee then less people will attend . She then says, ”But the truth is that fees don’t seem to affect attendance at historical sites and museums—at least not much.” She continues on to support her point with evidence from two economists that published their findings in Applied Economics in 1997. They found that charging for admission did not decrease admission to museums and actually result in a rise of admission because it shows people that the museum is worth paying to see. I see the point they are tr...
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...on, N. (2013). Psychology, Pricing, and Pay as You Will at the Children's Museum in Tacoma. Museum 2.0, 1. Retrieved February 14, 2014, from http://museumtwo.blogspot.com/2013/11/psychology-pricing-and-pay-as-you-will.html
Kennedy, R. (2013, October 24). New York City Amends Fee Policy for a Visit to the Met. The New York Times. Retrieved February 14, 2014, from http://www.nytimes.com/2013/10/25/nyregion/city-amends-fee-policy-for-a-visit-to-the-met.html?_r=0
Cep, C. (2014, February 7). The Case For Free Admission. The New Yorker. Retrieved February 14, 2014, from http://www.nytimes.com/2013/10/25/nyregion/city-amends-fee-policy-for-a-visit-to-the-met.html?_r=0
Vergeront, J. (2013). Pay as You Will: An Experiment in Free Admission. Museum Notes, 1. Retrieved February 14, 2013, from http://museumnotes.blogspot.com/2013/08/pay-as-you-will-experiment-in-free.html
Rubin, Elihu. Insuring the City: The Prudential Center and the Postwar Urban Landscape. New Haven: Yale UP, 2012. Print.
“Art Museums and the Ritual of Citizenship.” in Exhibiting Cultures. Eds. Ivan Karp and Steven Lavine. Washington: Smithsonian Institution Press, 1991. Print.
The city of Virginia recently put a tax on the Elizabeth River Tunnel. The tunnel connects Norfolk and Portsmouth and didn’t develop tolls until February 2014 (Kelly 2014). This new toll forces residents, commuters, and visitors to pay a tax starting from one dollar to four dollars. The recent tunnel tolls added to the mid-town and downtown tunnels in Hampton roads are causing commuters and citizens to make some drastic lifestyle changes. Students and employees are considering changes to their employment and the universities they attend to save time and money as a result of the cost of commuting. If the average toll is two dollars a day, then people are spending about 60 dollars a month. What was once a relatively easy trip for many has become costly in both time and money. Because the addition of the tolls have divided the population into those who agree, and those who disagree; the media has played a large role in promoting the argument against the addition of the tolls. The 60 dollars people spend every month can go towards more than a toll; especially if a person is having very hard times. The tunnel tolls have caus...
At the begging, the idea that I had to visit a museum for my assignment did not make me feel happy and amused. It was the opposite. I was thinking that it would be really stupid and boring going there, spending my day looking at some expensive “drawings”. However, when I saw the museum as a building, it really impressed me. The structure and architecture was really beautiful. As I was looking for the pieces of works that I had find information about. I was attracted by other gorgeous paintings as well. I saw paintings and sculptures from different cultures, which I never had heard before. My day at the Metropolitan Museum of Art was really a pleasure and fun. Apart from pleasure and fun, I got an idea of art which is very important to anyone of us.
Historically, museums and galleries have excluded too many people. I want to eradicate the pervasive assumption that “certain people just don’t visit museums.” In a modern era of public discourse characterized by instantaneous updating and dynamic participation, a savvy public shares knowledge and relays experience with the click of a mouse. The Internet, digital media, video games, and social networking offer new approaches to learning and understanding others. Regrettably, many museums – the giants of knowledge – have fallen behind in regard to inclusiveness, technological innovation, and representation of diverse experiences. Museums and galleries shape nationwide educational curricula and discourse. If they fail to resonate with wide audiences, then the public will go elsewhere to learn, despite these institutions’ long-established reputations. Particularly now, when most sentences are prefaced with “In this economy,” I believe that museums and galleries risk obsolescence without fundamental change and a renaissance of innovation.
In this semester, we have visited three public art agencies of NYC, which are the Percent for Art Program, the MTA’s Arts for Transit program, and Creative Time. These public art organizations commission public art to the public. They integrate and apply arts to sites through process and research based on artists’ practices. Public art agencies have similar goal that is to put artworks in appropriate sites and to get response from audiences. In this paper, I will discuss the three agencies we visited vary in rules of agency and patronage practices.
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
Professor Richard Sandell proposes a museum-specific model of diversity management. (appendix). He suggests that there is a dynamic interrelationship among its workforce, audiences, and museum programs: increasing diversity in the museum workforce can increase diversity in both service delivery and audience profile, therefore eliminating the perception of the organization as a “white space.” I want to add that, in this way, more people of color might be more willing to go and get the educational benefits of museum visitation. Fred Wilson, an African-American artist, curated an exhibition “Mining the Museum” in 1992 at the Maryland Historical Society, to offer an entirely new perspective on the museum’s collection and fight against social injustices. For example, he juxtaposed a pair of iron slave shackles with elegant silver vessels, highlighting the marginalized history of African American and increase the awareness of the diversity in Maryland community. The minority curator is able incorporate new points of view that makes minority audiences feel included, and thus achieving audience
Lord, B., Lord, G.D. and Martin L. ed., Manual of museum planning.3rd ed. New York: Altamira
A very important factor in the market is the price mechanism: affects both demand (people will want to take advantage of the merit goods – the museums), and supply (depending on the entrance fee or free admission, some museums could last longer or not at all on the market.) The public is easily attracted by incentives such as discounts for students and children and free admission for elders and the disabled. Incentives generate more visitor numbers. However, current demand for tickets is low compared to the optimum quantity, although the museums’ heritage and their tradition are considered to be of great value. The shortage in demand is mainly due to lower-class citizens’ incomes.
Reber, A. S.; Allen, R.; Reber, E. S. (2009) Psychological contract, The Penguin Dictionary of Psychology, Penguin, London
The lack of advertising is preventing the museum from attracting more visitors and funding thus negatively affecting the purpose of the museum. Many people are unaware of the existence of the museum which prevents them from visiting it. If people are not going to the museum, this means that they will not have the opportunity to learn about geography from the museum. For example, monthly lectures that are held in the debate room always have low attendance. Furthermore, poor advertising is preventing funding; an important factor to any non-profit scientific organization which rely mainly on government grants and donations. An increase in funding can be used to finance many aspects of the museum, including advertising, in order to improve the study of geography in Egypt. However, the small amount of visitors makes philanthropists and the government less interested in giving funds. Consequently, the Society is financially unable to advertise and thus cannot improve the study of geography in Egypt. Hiring an advertising agency to begin a campaign is necessary. Advertising through television, billboards, flyers and even emails will help attract more visitors and researchers as well as attention from government and thus help the museum in achieving its purpose of improving the study of geography in Egypt.
Personal, sociocultural, and physical contexts are all inclusive. When a person visits a museum and their expectations for the museum are surpassed, learning is facilitated. Once a person is motivated to learn, the museum and the person greatly benefit. The individual’s background in regards to their experiences, knowledge, interests, and beliefs play a significant role in their process of learning. Without any prior knowledge or interest, no one would have the desire to visit museums; they would have no motivation to. The basis of a person’s life depicts what they will/want to learn. Museums give each individual their right to choose what to read, visit, and view, how long to stay, etc. Each person is in control and everything is their choice of what to do with the museum. This environment is a very personal one, a great environment for learning at one’s own agenda, making what is learned more prone to stick.
...ad. They change opinions and perspectives and cause people to think in ways they normally would not just because of the sheer power of the exhibits around them. They are a necessity in society because it betters and cultures the population, making the world greater as a whole. I am thankful that museums are taking the initiative to becoming more modernized, adding twenty first century touches to the exhibits as well as creating virtual tours. Even though they do not compare to being there in person, it is a step in the right direction. We need museums more than most know, anything they can do to ensure they do not become a thing of the past, they should. I am glad I got to experience this class this semester, it changed my warped views on museums and caused me to appreciate them more. I am thankful to have learned more about myself through these remarkable museums.
Every day people who have a desire to interact with the past purchase ancient artifacts through the antiquities market, a system that has existed for many generations. However, the antiquities market is a system that has always been met with resistance, especially among those within the scholarly community of archaeologists. Many archaeologists and scholars have argued against this market, stating that it turns antiques into a commodity, encourages looting and is therefore a detriment to archaeology. On the other side, those in favor of this market have the antiquities market provides people with a great deal of exposure to the past. Both sides have their merit in regards to this controversial issue. However, when looking at the antiquities