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Metropolitan Museum of Art introduction
Metropolitan Museum of Art introduction
Metropolitan Museum of Art introduction
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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.
Throughout the years MOMA’s collection grew, with that came the need for space. Such as the expansion in the 1950’s and 1960’s by architect Philip Johnson, the renovation by Cesar Pelli in 1984 which increased gallery space and visitor facilities, and previously in 1997 the redesigning of the building by architect Yoshio Taniguchi that was completed in 2006. Now the current expansion project will consist of demolishing the original American Folk Art Museum building designed by Todd Williams and Billie Tsien, which is located on 45th West 53rd Street. Due to financial difficulties the American Folk Art Museum relocated to 2 Lincoln Square, Manhattan, New York, and the original facility was sold to the Museum of Modern Art in 2011. This expansion was commissioned to Diller Scofido+Renfroshas, gifted architects that rejuvenated New York with the extraordinary beauty of the High Line, whose current design for the MOMA has become a huge architectural controversy of the 21st century.
The controversy d...
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...hanges and adapt to the expectations of today’s social growth.
In conclusion, the controversy of demolishing the original American Folk Art museum’s has been finalized without remorse. According to Diller Scofido+Renfroshas no reasoning could have been found for the integration of the American Folk Art Museum. However, preservation is essential to architecture in the 21st century. It disciplines architecture. Preservation of the American Folk Art Museum will make the site meaningful by keeping the qualities that make it what we call architecture. My opinion is that there are ways to integrate the buildings. Diller Scofido+Renfroshas could have redesigned for a better integration without demolishing the neighboring building ruining a cultural institution. Diller Scofido+Renfroshas is portraying an egotistical and disrespectful opinion towards architecture.
“Cleveland Museum of Art: Building,” Cleveland Art, Cleveland Museum of Art, 2013. Web. 25 March, 2014.
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 Tampa Museum of Art was not always the same museum that we see today. It went through multiple stages throughout the years. The works vary, creating a large spectrum from the old to the new. The social angles change with the exhibits in the museum, combining to create the diversity we see today. Visiting this museum in person helped me to appreciate it even more than I would have thought possible. Observing and analyzing the other visitors helped me to understand the museum’s impact on the community more than I would have been able to just by reading about it. This museum is much different from others than I have visited.
The purpose of paintings is to capture the image of something. Paintings have been around since prehistoric times and span all cultures. Paintings are seen as one image but can convey thousands of different meanings. Before photography, paintings were used to record important events. The Blanton Museum of Art is home to many different types of paintings. The paintings range from different landscapes in America to cowboys to Native Americans. There are five paintings in the Blanton Museum of Art that can convey an image and culture of the American Old West with vivid and detailed images of cowboys, Native Americans, and the landscape represented, which is an important aspect of American culture and the frontier spirit.
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
James Rosenquist F-111 (1964-65) had to be the most epic piece to be seen at MOMA. I walked into the MOMA thinking, I doubt anything worthwhile will be at MOMA. Not because MOMA isn 't a fantastic museum, but the truth is Modern to Contemporary art just isn’t my cup of tea. Turns out, I was dead wrong. MOMA is a fantastic place to be, even for a hater,such as I.
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.
Rowland, Kurt F. A History of the Modern Movement: Art Architecture Design. New York: Van Nostrand Reinhold, 1973. 142. Print.
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.
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.
Visual Analysis Critique My recent visit at The Modern Art Museum of Fort Worth, Texas, I saw many intriguing and stunning works by well renowned artists such as Glenn Kaino (currently showcasing his FOCUS exhibition), Robert Motherwell, Josef Albers, Richard Diebenkorn, Nancy Graves, Philip Guston, Gerhard Richter, a couple of Andy Warhol works, and many more. All of the works presented at The Modern are international developments in post-World War II art in all media, from paintings, objects, and independent films. Every single piece at the Modern were all fascinating and unique in their own way and left me enthralled through the whole visit.
In order to create innovative public architecture, considered to be the most civic, costly, time intensive and physical of the arts, the project holds a degree of risk, strife, and negotiation . Overcoming these tasks and creating worthy public architecture is a challenge designers try to accomplish, but are rarely successful. The people involved in a potential public building, can be larger than the building itself. Public architecture tries to please all, even the doubters and critics, but because of the all these factors, a building is closer to failing than succeeding.
Frank Lloyd Wright has been called “one of the greatest American architect as well as an Art dealer that produced a numerous buildings, including houses, resorts, gardens, office buildings, churches, banks and museums. Wright was the first architect that pursues a philosophy of truly organic architecture that responds to the symphonies and harmonies in human habitats to their natural world. He was the apprentice of “father of Modernism” Louis Sullivan, and he was also one of the most influential architects on 20th century in America, Wright is idealist with the use of elemental theme and nature materials (stone, wood, and water), the use of sky and prairie, as well as the use of geometrical lines in his buildings planning. He also defined a building as ‘being appropriate to place’ if it is in harmony with its natural environment, with the landscape (Larkin and Brooks, 1993).
I was lucky enough to visit the Van Gogh Museum in Amsterdam in November of last year. The museum was located in somewhat of a museum park. The Rijks museum and the Stedelijk Museum are located on the same block. A beautiful landscape of ponds and trees are centered around them. The Van Gogh Museum has an audio tour available in all languages via a handheld tour guide. Unfortunately, funds limited me to get the audio tour, but I was able to nonchalantly follow a British couple around most of the five floors. The museum chronologically directes you through a collection of Van Gogh's and his contemporery's works.