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Effects of cultural discrimination
Racial discrimination in society
Racial bias in the us
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The play “Permanent Collection” focuses on an African-American man who has just taken over an art museum named Sterling North. While digging through storage, he finds eight African sculpture pieces and wants to add them to the collection at the Morris Foundation on the campus of a college. The Director of Education Paul Barrow is hanging on to the words of Mr. Morris and his vision because he doesn’t want anything to change at the museum according to Mr. Morris’ will, which contributes to the title of the play “Permanent Collection.” In the play, there is no answer as to who is right and who is wrong. North told a journalist that he believed Barrow to be a racist but Barrow doesn’t feel this way. He just doesn’t want to change the legacy that Mr. Morris left behind and he feels the art has no value to be placed next to paintings by people like Picasso. Throughout the play, they debate on what’s …show more content…
They both were right because Mr. Morris left the museum in a specific layout and format and Barrow only wanted to follow his ways. North was right because of the location of the museum it would only be fair to add the African sculptures and there should have been an equal amount of art from every source, not just from “white people”.
Even though they both were right, they both were also wrong. The reasoning behind them wanting to add to or keep the sculptures out of the museum was more for their own reasoning instead of the intentions of everyone else. Racism, still to this day, plays a big role in everything that we may do or say and that is what fueled the fire between the two men. The art represented more than just sculpture. The art represented the social issue of racism by not having “black art” in a “white museum”. History shows us that black or African-American people have had a hard time fitting into this society because of the older days were black people were considered to be inferior to the “white
The play The Colored Museum is a pleasant change in pace, in how a play projects itself to the audience. I found that the interaction with the audience to be an exceptional manner to add humor to the play, which was made evident in the exhibits pertaining to the play. However, the theme is constantly present in each unique exhibit, although it would appear that each exhibit could stand on its own. The play is a satire on the stereotypes or clichés seen in African-American culture, both past and present, but at the same time there is some praise or a form of acceptance towards the same diverse heritage. Despite this inherent contradiction, the play does well to spark thought in the viewer on what was said and done and how it can be relatable
It is imperative to understand the significance of the profound effects these elements have on the audience’s response to the play. Without effective and accurate embodiments of the central themes, seeing a play becomes an aimless experience and the meaning of the message is lost. Forgiveness and redemption stand as the central themes of the message in The Spitfire Grill. Actors communicate character development through both nonverbal and verbal cues; their costumes serve as a visual representation of this development by reflecting the personal transformation of each character. In the case of The Spitfire Grill, set design is cut back to allow for the audience’s primary focus to be on the actors and their story. Different from set design, the use of sound and lights in The Spitfire Grill, establishes the mood for the play. In other words, every theatrical element in a play has a purpose; when befittingly manipulated, these elements become the director’s strongest means of expressing central themes, and therefore a means of achieving set objectives. Here again, The Spitfire Grill is no exception. With the support of these theatrical elements, the play’s themes of forgiveness and redemption shine as bright as the moon on
The Metropolitan Museum of Art has one of the finest Asian art collections that has enlightened and strengthened my understanding in my personal art experience. The Museum itself is an artistic architectural structure that graces the entire block on 82nd Street in Manhattan. Entering inside, I sensed myself going back into an era, into a past where people traded ideas and learned from each other. It is a past, where I still find their works of yesteryears vividly within my grasp, to be remembered and shared as if their reflections of works were cast for the modern devoted learner.
The Midwestern contemporary art case study revolves around the current MCA board chair Peggy Fischer, and former board chair Peter Smith. Smith had been elected to the board after individuals recognized him and his wife for the immense art collecting accomplishments put forth on the couples behalf. Initially Smith was indebted to pay $10,000 to even be elected onto the board chair. Smith indeed paid an initial pledge of $10,000 and financially made amends to put forth $5 million additional dollars towards museum improvements. It is no deniable fact that Fischer had recognized Smiths admirable job running the museum. Smith worked his way up from being a member of the board to board chair. Smith and his wife were highly recognized by the community and aimed to stay out of the spotlight whenever possible.
George C.Wolfe uses plot, character, and dialogue in his play Colored Museum’s exhibit “Git on Board” to implicate the audience in order to force them to realize how they are simply being a part of the racial issues that have been existing. Throughout the play, using a sense of humor and satire, Wolfe continuously makes the audience feel uncomfortable. For example, Wolfe sets up the story in a “Celebrity Slaveship” that takes place into an airplane in order to give the audiences a taste of slavery in a familiar but unpleasant setting; Wolfe intentionally does so to forcefully implicate the audience to make them feel guilty for just being a part of the issue and not taking any action to stop it. To elaborate, Wolfe shows how our society has
...best case for the retention of the British Benin sculptures is to accord them the unique status they deserve as exceptional artworks and exhibit them appropriately in a prestigious national art gallery, for everyone to appreciate fully.
The St. Louis Art Museum is one of the United States most renowned art museums that is located in our very own St. Louis. It has over 30,000 pieces of exquisite art that I had the privilege to witness. While there, I mainly examined the art pieces that were modern art, since that is of what I have a good working knowledge. There is a wide range of art that I also got to witness including the sculptures and the museum itself. In the past year, they have recently installed a new sector of their establishment that has done nothing less than enhance the entire museum’s overall beauty. The St. Louis Art Museum, there are many beautiful works, but there were three special projects that caught my eye while I was there. The Contemporary art periods, Modern art periods, the American art periods, and the museum itself.
In the essay, “At the Buffalo Bill Museum, June 1988”, by Jane Tompkins, the author describes her trip to the museum and her perspective on the Buffalo Bill Historical Center. In her essay, she expresses her thought of the museum as, “the most disturbing places I have ever visited. It is also a wonderful place” (588). In the Whitney Gallery of Western Art, she admires the beauty, details, and veracity of paintings. However, she feels arts are not respected in there, for their meanings are altered. As Tompkins claims, “someone had taken the trouble to ferret out Remington’s statement of horror” (588). Moreover, she perceived, “Remington’s paintings and statues … are imperialist and racist” (590). In the Buffalo Bill Museum, there is no sign
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 this article Miller compares and contrast two pieces of artwork. the first one is a landscape painting by Albert Bierstadt called, Mountain Brook, and the second one is a sculpture called The Freedman, by John Quincy Adams Ward. Both pieces of work are apparently unrelated objects, due to them being created by different mediums and have different backstories. Both pieces were in a exhibition, where viewers were asked to question the historical, cultural, the representation of the nation, and race. Miller compares and contrast the many different ways to view the
Being guarded by emotions, the forever lasting paintings of the Lloyd and Sandra Baccus Collection will forever remain imprinted in my mind. Never have I seen such a diverse range of medium in one collection. I saw firsthand well-known paintings of artist that I have only heard or read about in books. The collection house many African American artist and African Diasporic. Lloyd and Sandra Baccus Collections are on exhibit at the David C. Driskell Center at Maryland University.
When looking between the four corners of a rectangular frame there is a piece of art. It is often filled with color, light, angles, and shapes. But what is more important than the mechanics of the painting style, or the ideological perspective it is intended to garner, there is a connection between the painting and the viewer. This connection is lasting, and deeply personal. In the concept musical of Sunday in the Park with George, Stephen Sondheim uses this quite literally. He tells a story about a man named George Seurat. George is a nineteenth century painter, obsessed with his work. And in Act II, he is his great-grandson, also named George, and also an artist. However, these similarities are not what necessarily connect the two. Instead, it is their relationship with the same woman, Dot. She is the glue that eventually unites the two Georges through time. It is this connection which brings together the emotions and hope from the man of one generation, to the man of another. Like a spectator laying eyes on a beautiful painting for the first time, Dot holds the connection between the old and the new, the unrealized and the realized, and between the real and the imagined. These interlocking pathways between the characters are expressed best in the two songs “We Do Not Belong Together”, sung in Act I, and “Move On”, sung in Act II. Together, these songs, as well as others, explore Sondheim’s use of connection, which ties the relationship of people to art, but more importantly, to each other.
Although The Institute of Contemporary Arts (ICA) of Boston was the only place dedicated to contemporary art for more than 50 year, it is having trouble growing into a pillar of the art industry (Reavis, 2010, pg.1). The main problem is the organization’s powerless leadership. According to Peter Northouse (2015), leaders must possess an effective influencing power in order to motivate followers (pg.47). The leaders prior to Jill Medvedow failed to get the local community fondly interested in contemporary art or an environment that showcases it. Therefore, there are no investors, donors, or patrons breaking down the door to fund or see the exhibits presented in the old
‘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 Divine Comedy is an exhibit that is being revisited and created by a “group of forty of the best known emerging artist from 8 different African nations,” based off the 4th century poem “the divine comedy” written by Dante Alighieri. At the National African Art History museum in Washington, DC and this year happens to be the 50th anniversary of the museum of the opening of the original Capitol Hill museum founded by Warren Robbins and Johnetta Cole June 3, 1964. It tells a story about life by dividing it into three layers in life that identify and portray the mind of human life in a religious frame of mind. The exhibit o has a creative way of showing how that we live life in layers, Hell, Purgatory, and Heaven. You enter the museum on the