Wait a second!
More handpicked essays just for you.
More handpicked essays just for you.
Many art galleries/museums now have virtual exhibition
Don’t take our word for it - see why 10 million students trust us with their essay needs.
3. Many art galleries/museums now offer elaborate websites. This virtual experience raises many factors that challenge the ways in which we conventionally view art. Discuss this statement through a close analysis of the web site of the AGNSW (www.artgallery.nsw.gov.au/). In particular, you should look at the sections dealing with Exhibitions, Collection and Education, especially ‘my virtual gallery’ that appears in Education.
In the 21st century age of technology, there is a constant conflict between the reception of art through a gallery website as opposed to experiencing it in the physical space of the art gallery or museum. Over time the consumption of art and purpose of art galleries has developed dramatically. Brian O’Doherty’s theory of the modern gallery space, displays a notion of a conventional way to view art whereby artworks are nowadays presented in a neutral gallery setting isolated from exterior meanings, ‘the white cube’ *(article). Essential to his theory is the relationship between content and context of an artwork, where limitations of ‘the white cube’ model excludes context. With extensive virtual visual and textual features, websites like the Art Gallery of New South Wales (AGNSW) website can provide auxiliary insights into the art displayed in the gallery. The threat of these simulating and replacing the traditional visit to the gallery is diminished by a number of factors, which make it beneficial in creating a unique experience. In the case of the AGNSW, their role of educating is further extended by offering a highly structured and extensive website that has created new ways of observing art. It is designed to effectively enhance the gallery experience. With theoretical frameworks efficiently installed ...
... middle of paper ...
...http://www.museumsandtheweb.com/mw2006/papers/cooper/cooper.html>
Duro, Paul The Rhetoric of the Frame: Essays on the Boundaries of the Artwork, Cambridge, 1996.
Google Art Project, launched February 2011, Google, viewed on 14th May 2012
Google Earth, launched June 2005, Google, viewed on 27th April 2012
Jones-Garmil, Katherine The Wired Museum: Emerging Technology and Changing Paradigms. Washington, dc: American Association of Museums, 1997.
Marstine, Janet New Museum Theory and Practice: an Introduction, Hoboken: john Wiley & sons, Ltd. 2008.
Streeton, Arthur Fire’s on. 1891, oil on canvas, 183.8 x 122.5cm
Valenza, Joyce Kasman ‘Real Art Museums Without Walls’. Technology Connection, vol. 4, February 1998, Issue 9.
Vergo, Peter The New Museology, London: Reaktion Books, 1989.
DeWitte, Debra J. et al. Gateways To Art. New York City, NY: Thames & Hudson, 2012. Print.
...g digital museums already exists, because it would allow more people to discover works of art that are much in demand, without having to queue and be surrounded by people. The progresses in digital imagery are going to get even more faultless, but one should remember that it remains a copy, and that nothing is worth being transported by the emotion and the magic of contemplating the work of art itself.
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
Goldwater, Robert and Marco Treves (eds.). Artists on Art: from the XIV to the XX Century. New York: Pantheon Books, 1945.
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
One pleasant afternoon, my classmates and I decided to visit the Houston Museum of Fine Arts to begin on our museum assignment in world literature class. According to Houston Museum of Fine Art’s staff, MFAH considers as one of the largest museums in the nation and it contains many variety forms of art with more than several thousand years of unique history. Also, I have never been in a museum in a very long time especially as big as MFAH, and my experience about the museum was unique and pleasant. Although I have observed many great types and forms of art in the museum, there were few that interested me the most.
In Confronting Images, Didi-Huberman considers disadvantages he sees in the academic approach of art history, and offers an alternative method for engaging art. His approach concentrates on that which is ‘visual’ long before coming to conclusive knowledge. Drawing support from the field of psycho analytics (Lacan, Freud, and Kant and Panofsky), Didi-Huberman argues that viewers connect with art through what he might describe as an instance of receptivity, as opposed to a linear, step-by-step analytical process. He underscores the perceptive mode of engaging the imagery of a painting or other work of art, which he argues comes before any rational ‘knowing’, thinking, or discerning. In other words, Didi-Huberman believes one’s mind ‘sees’ well before realizing and processing the object being looked at, let alone before understanding it. Well before the observer can gain any useful insights by scrutinizing and decoding what she sees, she is absorbed by the work of art in an irrational and unpredictable way. What Didi-Huberman is s...
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...
Youngs, I. (2011). Museums enjoy 10 years of freedom. Available: http://www.bbc.co.uk/news/entertainment-arts-15927593. Last accessed 4th Nov 2013.
Art can be seen in every culture and country around the world in many different forms and styles. The only way to be able to see and experience different types and styles of art is to travel around the world and see it at museums. Unless a local museum features different artwork from around the world; there is a rare chance that a person may be able to appreciate different types of artwork from around the world. However, today’s technology has given more people a chance to appreciate art from around the world through virtual museums online.
‘Savage Beauty’ was an exhibition that pushed the boundaries of museology, in its artistic, social and critical undertakings. The questions brought to bear by the exhibition of contemporary art and culture in various situations is something I am interested in researching further with a degree in curating.
The Web. The Web. 22 May 2014. "Why Arts Education Is Crucial, and Who's Doing It Best." Edutopia. The. N.p., n.d. Web.