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Museum upload Museum upload Presentation Transcript

  • Encountering the Museum
    Readings:
    “The History of Collecting and the Growth of Art Museums,” 4-14.
    Terms/Concepts:
    museum, mouseion, muses, treasury, pinakotheke, chapel, ambulatory, reliquary, wunderkammer, Enlightenment, white cube, framing devices,
    Monument List:
    • Treasury of the Siphnians, Sanctuary to Apollo at Delphi, Greece, 550-530 BCE.
    • DomenicoRemps, Scarabottolo, 1675.
    • Hubert Robert, Design for the Grande Galerie in the Louvre, Paris, 1796.
    • ResnickPavillion, LACMA (Los Angeles County Museum of Art).
  • Artist
    Context
    Context
    Art
    Viewer
    Context
    Where
    When
  • Defining the Museum
    • Etymologically: Our word museum comes from the word “mouseion” or “home of the muses.”
    • Denotatively: a building in which objects of historical, scientific, artistic, or cultural interest are stored and exhibited.
    • Historically: locations where the collections and riches of a kingdom or a single person are kept.
  • The Mouseion:“The Home of the Muses”
    Baldassarre Peruzzi, Apollo and the Muses, 1514-1523.
    Erato = Love Poetry
    Calliope = Epic Poetry
    Terpsichore = Dance
    Melpomene = Tragedy
    Clio = History
    Thalia = Comedy
    Euterpe = Song
    Polyhymnia = Hymns
    Urania = Astronomy
  • Treasury of the Siphnians, Sanctuary to Apollo at Delphi, Greece, 550-530 BCE.
  • Treasury of the Siphnians, Sanctuary to Apollo at Delphi, Greece, 550-530 BCE.
  • Propylaia
    Pinakotheke
    Temple of Athena Nike
    Propylaia (center), Temple of Athena Nike (right), Pinakotheke (Left). Acropolis, Athens. c. 450-430 BCE
  • Library at Alexandria, Egypt, c. 323-31 BCE.
  • Museum at Alexandria, Library of Alexandria, c. 323-31 CE
  • Museum at Alexandria, Library of Alexandria, c. 323-31 CE
  • The Middle Ages:Reliquaries and Chapels
    Radiating Chapels and Ambulatory, St. Denis, Cathedral, Paris, France, 1145.
  • The Middle Ages:Reliquaries and Chapels
    Radiating Chapels and Ambulatory, St. Denis, Cathedral, Paris, France, 1145.
  • The Middle Ages:Reliquaries and Chapels
    Chapel
    Ambulatory
    Radiating Chapels and Ambulatory, St. Denis, Cathedral, Paris, France, 1145.
  • The Middle Ages:Reliquaries and Chapels
    Apse with Reliquaries, Ste. Chapelle, Paris, France, 1370 CE.
  • The Early Modern:“Wunderkammer”
    European Trade Routes of the 15th and 16th century.
  • The Early Modern:“Wunderkammer”
    MuseiWormianiHistoria, Italy, 16th century.
  • The Early Modern:“Wunderkammer”
    DomenicoRemps, Scarabattolo, 1675.
  • The Early Modern:“Wunderkammer”
    SchlossAmbras, Kunst- and Wunderkammer, 17th Century.
  • The Early Modern:“Wunderkammer”
    SchlossAmbras, Kunst- and Wunderkammer, 17th Century.
  • The Early Modern:“Wunderkammer”
    William van Haecht, Kunstkammer of Cornelius van der Geest, 1628.
  • The Early Modern:Private Collections
    Rembrandt van Rijn, Self-Portrait, 1658.
  • The Enlightenment:Pictures go Public
    Ashmolean Museum, Oxford, opened 1683.
  • The Enlightenment:Pictures go Public
    The British Museum, London, founded 1753.
  • The Enlightenment:Pictures go Public
    The Enlightenment Room, The British Museum, London, opened 1759.
  • The Enlightenment:Pictures go Public
    The Enlightenment Room, The British Museum, London, opened 1759.
  • The Enlightenment:Pictures go Public
    The Louvre, Paris, Opened to the public in 1793.
  • The Enlightenment:Pictures go Public
    Hubert Robert, Design for the Grande Galerie in the Louvre, Paris, 1796.
  • Almost nothing displayed in museums was made to be seen in them.--Susan Vogel
  • A Kuba woman’s wrapper, a Zande hunting net and a metal currency from Zairein the “Art Gallery Display”
  • A Kuba woman’s wrapper, a Zande hunting net and a metal currency from Zairein the “Art Gallery Display”
  • A Kuba woman’s wrapper, a Zande hunting net and a metal currency from Zairein the “Art Gallery Display”
  • Zande Net
    Jackie Winsor, Double Circle
    A Kuba woman’s wrapper, a Zande hunting net and a metal currency from Zairein the “Art Gallery Display”
  • Framing Devices in Museums
    • Choice of objects to display.
    • The grouping or separation of objects.
    • The categorization of objects.
    • The location of displays.
    • The design of displays.
    • The didactic materials.
    Museums “frame” our understanding and interpretation of cultures and historical periods.
  • Museum Displays Can…
    • Tell a story.
    • Create relationships.
    • Contextualize objects.
    • Lend importance to objects.
    • Declare an object to be an artwork or an artifact.
  • Navigating Space
    Daniel Liebskind, Hamilton Building, Denver Art Museum, 2011.
  • Navigating Space
    Plan of the Hamilton Building and the North Building, Denver Art Museum.
  • Navigating Space:The White Cube
    ResnickPavillion, LACMA (Los Angeles County Museum of Art).
  • Navigating Space
    Kirkland Museum of Fine & Decorative Art, Denver, founded in 1980.
  • Grouping
    Thunder Bay Museum, Thunder Bay, Ontario
  • Grouping
    Lawrence A. Fleischmann Gallery, Smithsonian American Art Museum, Washington, D.C.
  • Grouping
  • Grouping
  • Grouping
    Portland Art Museum
  • Positioning
    Paris Salon, 18th century.
  • Positioning
  • Lighting
  • Lighting
    Oklahoma City Museum of Art
  • Lighting
    Seattle Art Museum, Seattle, Washington
  • The Enlightenment Room, British Museum
    Reading Room, Denver Art Museum, 2011.
  • Questions to ask yourself…
    How does the space operate? Is it small? Large? Does it encourage or discourage interaction with the art or others?
    What is the scope of this exhibit? What objects are chosen? Why might they be chosen? What are you supposed to learn?
    How are objects displayed? Are they grouped together? Separated? What relationships do you see among objects?
    Are objects presented as artworks or artifacts?
    How are the space and objects lit? Is the room bright? Dark? Does the lighting add a sense of drama? Does it highlight particular objects?
  • Major Goals
    • How does the development of public museums follow the same developments of artists and patrons?
    • What is the significance of Susan Vogel’s statement: “Almost nothing displayed in museums was made to be seen in them?”
    • How do museum displays impact how you perceive a particular culture or set of objects?