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Museum Exhibit: Lenny Bruce, 2005.
Critique and analysis of an exhibit on Lenny Bruce at the Museum of Movie and Television in Los Angeles.
965 words (approx. 3.9 pages), 2 sources, MLA, £ 23.95
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Abstract
This paper describes the exhibit on 1950s comedian Lenny Bruce. The paper also gives background information about Lenny Bruce and explains why Bruce's form of comedy was so shocking for its time.
From the Paper
"Long before there was John Stewart and Comedy Central, long before David Letterman gritted his gap-toothed smile on CBS, Lenny Bruce held comedic sway as the nation's satirist of record. But unlike John Stewart, or even edgier comedians like Chris Rock and Margaret Cho, Lenny Bruce during his heyday was considered a transgressing presence upon the American comedic stage, rather than a popular mainstay of talk shows and popular entertainment. Today, comedians of strong words and even stronger personalities are common. But before Bruce, much of American comedy was decidedly non-abrasive. Even the Marx Brother's cutting humor was more intended in silliness, than to have a explicit cultural or social bite to it."
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Understanding Museum Exhibitions, 1998.
An analysis of the effects of labeling, lighting and assemblage on viewer perception of the displayed object in museum exhibitions.
4,154 words (approx. 16.6 pages), 7 sources, MLA, £ 77.95
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Abstract
This paper examines the ways in which museum exhibition styles influence the way a object is viewed and interpreted by patrons. It looks at the most common tools used in creating an exhibition - the labeling, lighting and assemblage context, and how they may be manipulated either intentionally, or unintentionally, to convey a certain message about an object. It also examines the way display context may hinder effective communication with the viewer. Three example exhibitions are used to illustrate how various display modes can be used to communicate; the 1876 Paris Exposition of Louis Napoleon, the Herbert Ward exhibition of Africana and the 1988 exhibition 'Art/Artifact' at the center for African Art in New York. This paper also examines how the display context in each of these examples is used to convey a political message, represent a culture, and to challenge people's notions about aesthetic objects and cultural artifacts.
From the Paper
"Exhibitions are most commonly seen in the everyday appearance of shop windows. Retailers use the exhibition of their goods to communicate to the customer something about the object. Through their use of the display case, lighting and the orientation of their goods they are telling the consumer the object is valuable and desirable. Exhibitors in museums also have this power to communicate through exhibition design. Unlike the shop displays though, the messages conveyed through museum exhibition are varied and complicated and far more reaching. An exhibitor has the power to affect how we will view an object. "The mode of installation, the subtle messages communicated through design, arrangement and assemblage can either aid or impede our appreciation and understanding of the visual, cultural, social and political interest of the objects and stories exhibited in museums." (Ivan Karp, 1991 pp. 13-14) Museum exhibitors not only have the power to communicate through their displays, but they also have the ability to direct the patron's perception of that object. Just as many believe a photograph is an accurate representation of reality, many patrons take what they are given in an exhibit as fact, even though both the photograph and the exhibit are subjects of the creators' interpretation."
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The Metropolitan Museum of Art, 2008.
An overview of the Renaissance exhibition at the Metropolitan Museum of Art.
724 words (approx. 2.9 pages), 3 sources, MLA, £ 17.95
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Abstract
This paper discusses how the special exhibits at the Metropolitan Museum of Art serve an important role in the storytelling of social, political and art history. In particular, it looks at how the special Renaissance exhibition tells a fascinating story of religious and intellectual enlightenment, and provides patrons with a glimpse of Renaissance tastes, fashions, standards of living and way of life. It examines how the artwork of Fra Angelico and the special exhibit on Renaissance tapestries provide a great deal of knowledge and insight on Renaissance artist influence in religion, society and affluent tastes.
From the Paper
"Angelico's famous pieces The Nativity and The Virgin of Humility are displayed at this exhibit. The works are very powerful, using bright colors to emphasize the birth of Jesus, angels rejoicing from above, and the Virgin Mary cradling Jesus. The pieces individually show Angelico's devotion to the Catholic Church, with symbolism fairly common within the paintings. However the paintings also portray to the viewer the saintly respect provided to the acquaintances of Jesus, especially the mother Virgin Mary. "
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The American Effect, 2004.
Critiques the Whitney Museum's exhibition, entitled "The American Effect".
1,084 words (approx. 4.3 pages), 1 source, MLA, £ 25.95
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Abstract
This paper describes some of the exhibits at the Whitney Museum's recent exhibition, "The American Effect", and how they are supposed to represent world opinion of the United States and Americans. The paper interprets the meanings of some of the exhibits and concludes with a brief summary of the varying opinions of America expressed by the exhibit.
From the Paper
""The American Effect" is an exploration of the perception of America, as seen through the eyes of American artists. The American Effect encompasses works from 47 artists from 30 different countries, including Asia, Africa, and South America. The exhibition contains photographs, paintings, videos, and documentary films. The exhibitions range from the humorous, to the obscure, to clearly shocking and scathing attacks."
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Anthropology Museum, 2003.
This paper discusses the creation of an anthropological museum.
920 words (approx. 3.7 pages), 564 sources, £ 21.95
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Abstract
This paper discusses the building and putting together of a new museum housing an anthropological collection in the state of Georgia. The author examines how to build the museum, what type of museum it should be and how to balance the research and exhibit goals of the museum. The paper relates issues of collections, funding, staffing, museum design and layout.
From the Paper
"The purpose of anthropology is to study the origin behavior as well as the physical, social and cultural development of humans throughout history and in different cultures. This study can take the form of fieldwork academic study research as well."
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The ?Information Age? Exhibit.
This paper reviews the ?Information Age? exhibit at the Smithsonian National Museum of American History, Washington, D.C.
840 words (approx. 3.4 pages), 0 sources, £ 20.95
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Abstract
This paper reports that the "Information Age" exhibit has on display hundreds of items spanning the 150-year length of the "Information Age". The author points out that, from the telegraph to the portable computer and digital CD ROM, these devices have helped shape the world around us and have given us access to a whole new way of life. The paper states that the exhibit contains additional facts, including the fact that the first computers were sold as kits for which consumers had to make their own case because many marketers believed the personal computer was not a salable product.
From the Paper
"In addition to the telegraph, a basic cable, called the Atlantic cable of 1858, is also on display. Being to forefather to the coaxial cable that would later transform information across the globe, this cable was not well designed, and only stayed operable for a few days. However, later cables would spread the information world across the ocean for the first time, promoting intercontinental communications. In addition, the "Information Age" exhibit includes a telephone display, showing the history of the telephone as the world knows it today. Beginning with Alexander Graham Bell?s early telephone equipment, including pictures of his early experimental phones, and spanning to the commercial phone of 1877 and the first telephones with a dial, this display shows the evolution of both the phone its self, and the equipment created to handle the calls."
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The British Museum, 2005.
This paper discusses the financial management of the British Museum especially for long-term projects and displays.
2,640 words (approx. 10.6 pages), 7 sources, APA, £ 54.95
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Abstract
This paper explains that the expenses incurred by any museum including the British Museum can be sub-divided into cost categories: Salaries and benefits, occupancy, curatorial and conservation, public programs, marketing and administration. The author stresses that museums must reserve about 5% to 10% of their total budget for direct collection management costs other than salaries; lesser reserves indicate neglect of the museums most important resources, its exhibits. The paper relates that museums house thousands of art and artifact pieces valued at billions of pounds; therefore, insurance on collections, buildings, equipment, liability and loans to other museums around the world is essential. Charts and graph.
From the Paper
"The museum currently gets a grant of about 36 million pounds. This is nearly one third of its total budget. Although the income from the shops on the piazza has doubled, it is not sufficient to ensure that the museum is profitable. The actual operating costs of the Great Court were higher that the initial estimates. At present effective marketing can combat these unique situations that the museum faces. Fundraising is essential. There are two methods that have been identified in effective fundraising for any establishment. The first is a pace setting donation method in which the museum approaches its most valuable donators and petitions for a donation. This is generally done on a personal, one on one level where interaction is critical. The fundraisers then approach other individuals who might be willing to donate to the cause if they feel that they will gain recognition or popularity from that move."
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UCLA Fowler Museum of Cultural History, 2002.
This paper describes a visit to the UCLA Fowler Museum of Cultural History highlighting a show entitled "Music in the Life of Africa".
1,755 words (approx. 7.0 pages), 1 source, £ 39.95
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Abstract
This paper explains that the Fowler is a museum of culture rather than an art museum, and therefore it concentrates on the way culture is manifested by different peoples around the world. The author points out that the Fowler Museum is in a relatively new building on the north end of the campus of UCLA, but getting to the museum and close-parking areas are problems. This paper explains that the display of the artifacts in this museum differs from that in many museums; the visitor is not so separated from the objects being shown, but rather most objects rest on low platforms no more than a foot or so off the ground. The paper includes details of the "Music in the Life of Africa" exhibition.
From the Paper
"Two of the current exhibits emphasize a continuing concern with how a culture makes use of its waste in artistic expression with shows on how certain materials are recycled for use in artworks. A second show has a similar theme but is more particularized as it shows "Muffler Men," or human figures made from discarded mufflers, usually by mechanics who then place these figures outside their businesses as advertising to show passersby what kind of business is conducted inside. Many of these figures are very creative. One service station shown in a photograph has eight or nine such figures outside and on its roof. Some of the figures are playing musical instruments, also made from old mufflers and other automobile parts no longer needed. The figures are usually painted, and they resemble nothing so much as robots in an old science fiction movie."
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Field to Factory: The Great Migration, 2005.
This paper discusses the "Field to Factory" museum exhibit and looks at the migration within the United States of southern African Americans in 1915-1940.
1,350 words (approx. 5.4 pages), 1 source, £ 36.95
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Abstract
This paper focuses on the National Museum's Field to Factory exhibit, and the Great Migration from the years 1915-1940. It discusses the social elements that existed in the lives of southern African Americans and their reasons to migrate by the thousands to northern lands. The writer further looks at the effects of this migration on the United States, making use of 3 sources of supporting information.
From the Paper
"A remarkable statement on the social history of the United States, the Field to Factory Exhibit at the National Museum of American History offers the viewer the opportunity to step briefly back in time and experience elements from the Great Migration of an American people. This period, (1915-1940) is an important span of time for the entire world to consider. While we are taught about the Civil War, slavery, and the Civil Rights Movement, we often fail to comprehend the significant changes that took place in the United States because of the courage of a race that refused to be enslaved forever. This exhibit speaks, through visual and audio means, about the lives of the African American people in the south, during their migration north, and presents evidence about their new lives in the northern United States."
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Museum Anthropology, 2007.
This paper discuses the impact of new technologies on the practice of museum anthropology.
1,610 words (approx. 6.4 pages), 5 sources, MLA, £ 36.95
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Abstract
This paper explains that new technologies are impacting the practice of museum anthropology by making possible a more accurate interpretation of what ancient objects are really saying, by removing long-held misconceptions, and by enabling museum anthropologists to get much closer to the real story told by these silent artifacts. The author points out that the invention of photography has made possible different kinds of exhibitions, while the invention of x-rays, combined with sophisticated computer analysis of these x-rays, has made possible a more informed understanding of what exhibit artifacts really mean. The paper relates that archaeologists, anthropologists, engineers, mathematicians and computer scientists are working together at the ancient site of Tiwanaku, Bolivia, to develop a large, subsurface surveying project that will attempt to identify artifacts before they are actually collected.
From the Paper
"Yet this was just the beginning of the ways in which technology would shape and frame the discourses engaged in by museum anthropologists. While the possibility of collections of photographs made possible a particular kind of exhibition, more recent advances have made possible a deeper insight into what the exhibitions actually mean. For example, the Krapina Neanderthal fossil bone collection was found in August, 1899, in caves in Croatia. It has long been thought that the collection was a relic of an ancient group of hominids that died out because they were weaker than other groups."
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Board Games at the Victoria and Albert Museum, 2004.
A look at some of the more fascinating board games displayed at this London museum.
4,926 words (approx. 19.7 pages), 6 sources, MLA, £ 86.95
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Abstract
In 1974, Sir Roy Strong, the director of the Victoria and Albert Museum at the time, felt there were enough significant objects relating to the history of childhood within the Victoria and Albert Museum to devote an entirely separate museum to this subject. Since then, the V&A childhood collection has been housed at Bethnal Green and has developed and grown in status to become a collection of national and international significance. Using the documentation available in the Museum of Childhood archives, the author of this paper has produced a comprehensive report on the most popular and influential games displayed at the museum. The paper shows that games were not just a leisure activity arbitrarily serving as a means of passing time. Many times, they are used to teach morals, histories, and religions, and are always a reflection of the culture that surrounds them.
From the Paper
"Because of the gambling character inherent in many games played with a normal deck of cards, such as Poker or Bridge, children?s card games were often specifically designed to look different by the addition of pictures or words. In Europe, card games have been documented since about 1370. Card games for children are often fast-moving, enjoyable and easy to learn. Most could be played with a standard deck as well, but often cards for children have an educational theme, with designs based on almost any subject, from fairy tales to maths."
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Art Exhibition in Europe During the Period 1700-1880, 2002.
This paper looks at the history and trends of art exhibition in Europe from 1700-1880.
967 words (approx. 3.9 pages), 5 sources, MLA, £ 23.95
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Abstract
The writer discusses the purposes of art exhibition in Europe from about 1700 through 1880. Such exhibitions made it possible for artists to find a new public, a more democratic public than had been possible in an earlier era when art was subsidized by wealthy patrons. The history of the exhibitions shows two rends by the end of the era. On the one hand, there was the trend of academic art. Then, there were the non-academic exhibitions, the most famous of which was that of the Impressionists, and here artists who do not fit the academic mold were able to break through and find an audience by using the techniques of the academic exhibition and so appealing to a public that was accustomed to this sort of show.
From the Paper
"The art exhibition developed out of efforts started in 1648 to establish a school in Paris devoted to the instruction of fine arts. This would be the Royal Academy of Painting and Sculpture, which actually consisted of societies of learned men who guided students in the disciplines of literature, music, dance, architecture, painting, and sculpture. This was at first a part of the University of France, but the societies eventually developed into separate institutes for the individual artistic disciplines. The government favored these institutes "as an instrument for imposing official standards of taste on art" ("Educator Packet: Rules & Rebels in 19th Century French Art"). The Academy also introduced several important and lasting innovations in teaching art. Prior to this, those interested in becoming artists would apprentice themselves in the workshop of an established master. The Academy offered the student the chance to train before taking a job with an artist."
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Museum Education, 2003.
Discusses the development of museum education departments.
3,600 words (approx. 14.4 pages), 57 sources, £ 88.95
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Abstract
Examines the relationship between museum educators and museum curators, the roles of each, overlapping of roles, the division of labor at museums, and the implications of a trend toward art as a cultural and historic artifact.
From the Paper
"The development of museum education departments as the point of contact between the museum institution and the public has occurred in the context of museum mission ..."
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The Guggenheim and Metropolitan Museums of Art, 2002.
A discussion of the Guggenheim and the Met and their success in stimulating and educating museum visitors.
1,395 words (approx. 5.6 pages), 4 sources, MLA, £ 32.95
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Abstract
This paper discusses the Guggenheim and Metropolitan Museums of Art, describing and contrasting the two museums in the context of bringing art, culture and architecture to the public. Modern thought regarding museum architecture is also discussed. It also discusses the history of art museums in the past century. It examines the level of interaction between the art admirer and the art itself in several museums and accordingly judges their success.
From the Paper
"Art museums have been through multiple metamorphoses in the last 100-plus years, from ornate Victorian cathedrals stuffed with artifacts, to flexible modernist boxes and vast salvaged industrial buildings. A museum building is often thought of as monumental sculpture, and is itself potentially the most important work in an institution's collection. How paintings and sculpture actually fit into it is, typically somewhat controversial. Museum founders realize that the public can best appreciate and become engaged in art when the level of interaction and personal participation is high. Mimi Gaudieri, the executive director of the Association of Art Museum Directors, and other enthusiasts among professionals in the field insist that there's no conflict between a museum's mission and high-profile architecture. "On the contrary, an exciting building lends itself to art," Gaudieri says. "It's part of the growth of the whole museum field. Years ago we were just sleepy institutions with no profile, and all of a sudden things have changed. Museums have woken up. We are much more aware of the community and are working more closely with it." Current museums incorporate inviting lobbies, lecture halls, libraries, cafes and shops, recognizing that while they display art, they also must draw the interest of the public (and potential donors) with a holistic appeal (Lloyd 2001)."
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