Ap Synthesis Essay: Museums

When a museum has prestige on a national level, they can be under high scrutiny of exhibits or objects displayed by the public. Controversial topics, for example, the Enola Gay exhibit, has left historians hesitant and confused on how to create exhibits with correct history, but also not upsetting any individual who were involved with said history. Historians have a trying task of addressing both sides of a historical event, even though it might depict individuals in an unflattering way. A historian is not allowed to have a bias for events, this could have an impact on the way an exhibit is created. Another point that was brought to light in Bunch’s article was museums have the ability to educate the public, so difficult topics should not be

In Steven Lubar’s book, Inside the Lost Museum: Curating, Past and Present, the recurring idea that museums are “more than the sum of their parts” plays a critical role in the overall argument (329). Lubar notes many aspects that make up a museum, the collection, for example is an essential part of any museum, but the community, as well as the experiences of the patrons create a lasting museum experience. Additionally, Lubar aptly utilizes real-world examples, contemporary and historical, highlighting the work of individuals in museums and establishing a connection between past and current events. Central to this narrative is the example of the lost Jenks Museum. Lubar uses this museum to argue that museums of the past can educate museum goers

The 21st century has seen a dramatic increase in the challenges facing cultural institutions, particularly museums. One of the most pressing issues currently facing museums worldwide is the diminishing level of government support. Despite reductions in government funding, the sustained maintenance of museum collections and facilities continues to require substantial resources. In the face of such difficulties, a growing number of museums have turned to innovative programming, specifically exhibitions, as a way to ensure financial viability through increased attendance. Given the growing competition for consumer leisure time in today’s society, attention has shifted away from traditional scholarly collection based exhibitions, towards the populist exhibition format offered by blockbuster exhibitions. Through a discussion of Harry Potter™: The Exhibition at the Powerhouse Museum and the First Emperor: China’s Entombed Warriors at the Art Gallery of New South Wales, this essay will examine the two approaches museums are taking to the blockbuster model. It will be argued that although exhibitions reflecting popular culture are becoming increasingly more common, there are institutions that manage to reflect popular taste in ways that continue to advance scholarship and create opportunities for lifelong learning.

The next category that the financial mission statement tries to fill is priorities. Maintaining current exhibitions and collections is the main priority because they are what make money. The main collection critical to the infrastructure of a museum and are what keep the public coming back. Special exhibitions are important and should be funded because they bring in the most press and public excitement, but they often lose money because of indirect costs that come with them (Anderson 5-6). Making branding a priority is a smart move because it broadens the museums reach, and creates a new form of revenue with the selling of museum specific

The money that museums get can be used to support the upkeep of these items, letting them live longer and create a reliable income

As a museum, our job is to create an experience for our visitors in order to leave an artistic impression in their heads. Many museums have attempted to create unique exhibitions such as period rooms and displays in order to amaze the crowds that travel through and make their experience a memorable one. Nowadays it is difficult to amaze a crowd that has so many resources at its disposable. The internet has made it possible to view any work of art with just the click of a button. It is for this reason that the Glass Booth should be integrated into the museum. With the financial support of the board, the purchase of three different stained glass pieces can be purchased to put together this unique booth so that the audience can experience the

Imagine this, a dozen full scaled planes all ranging from different decades, sizes, and colors hanging from the rafters; which are all crammed into the football field sized room. Something clicked inside my head, each one of these planes has helped achieve history, either by transporting something important, was flown in a certain battle, or broke boundaries and records. Each one is a portal to the past and gives us a glimpse into what it could have been like to live then. They can also give us insight on the people who used them and how this item was inspired by their culture. Museums bring history to life by sharing stories, and how the past has shaped and influenced our society today.

Museums are the most used in preserving history and culture. Artifacts can be stored there while allowing the public a chance to view the artifacts. During the time that the artifacts are there, historians continue research on their finds to better understand items’ past. However, the process can stop due to illegal selling and trading in the black market.The black market allows collectors to buy artifacts from sellers who steal them from museums and excavation. In countries that have corrupt governments,, the amount of items stolen are higher . From the NPR podcast, thieves are becoming huge threats to Iraqi museums, not to mention during the ongoing war there. Some artifacts are destroyed, but their mostly stolen which leaves unanswered questions

The museum’s Collections of the art turn out to rely on the contributions of passionate individual collectors. Both the museums were founded for the purpose of encouraging and developing the study of fine arts and are open for the public, and situated in the United States.(Walter 3)

They envisioned a museum with a “minimalist approach, simple, and not over complicated ” since they wanted to avoid economic excess and return to essential design. But for them the term affordable would not mean cheap or lack of beauty, the museum should attract the community and engage it. The vast area allowed the creation of a museum in which the community could interact with the building and its surroundings.

Many different museums surround the West Michigan area and are the storage centers of the history of our counties, state, and country. When visiting a museum many people take in the sights and displays but never understand the work behind the scenes that when into providing the great historic exhibits. Many of museums are free admission or a slight admission fee but that small amount of profit is barely enough to keep the lights on. So one may ask how do museum economically survive if there is very little profit made on tourism or museum visits? Also one may ask how is a museum able to have employment with the little profit made each year where is money magically appearing to afford to run these museums? Well on a visit to the Lakeshore Museum Center in Muskegon, Michigan, I was ready to partake in answering these questions, and had many more questions to discover the operational structure that made this museum operate daily.

The display is curated by Interim Director of Museum Studies, Dr. Kendall H. Cocoa, with B. Karenina Karyadi, Lauren Nochella, Kristy Odett, and Ariana Rizo, as a halfway prerequisite for the CSULB Graduate program in Museum and Curatorial Studies.

Because of this, it is important that those responsible for the selection of artworks to not only consider the historical value of each exhibit, but also the possible revenue. It is important to avoid a “lack of consensus about the composition of . . . permanent collection and the direction [the] collecting should take in the future” (Source A). Without careful consideration, “financial woes [will be] exacerbated by a poor management structure, a result of a decentralized system” (Source A). However, the subject of money also brings criticism; some believe that financial gain is an “unlawful and immoral spoliation of art” (Source F) and “[a] work is chosen for reproduction, not because of its place within an educational context, or because of its intrinsic aesthetic worth, but because of its marketability” (Source D). While this is a valid thought, we must remember that if a work of art was not culturally and aesthetically appealing, it would fail to bring in funding anyway as its popularity would decrease. The biggest “money-making” displays are successful because they are appreciated by such a large audience, thus “achiev[ing] the proper balance whereby the educational goals maintain their ascendancy and the profits grow” (D). If a museum was truly run by greed and a desire for financial success, the public would lose interest in the lack of historical context and the museum would ultimately become bankrupt regardless of how “financially adequate” the works of art are. Because of this harmonious balance, museum representatives must carefully select works of art that attract enough visitors to shovel in profit and consistent funding for such historical and artistic

Placing the best on display causes more of a risk of theft to take place. This is just one of the many issues that these places are faced with. “The issue facing security managers and owners of museums and galleries is this: Works of art are meant to be seen by the public or potential purchasers. Visitors expect to be allowed to scrutinize the objects on display. Thus, the museum’s assets are immediately susceptible to theft or damage, whether accidental or deliberate.” (Burrows, p.34) Therefore a type of security must be in place to prevent this from happening. How should this security system designed? “In designing museum security, I suggest a three-step approach: (1) List what to protect. (2) Consider what is likely to happen to it. (3) Consider action to counter the threat.” (Burrows, p.34)

‘Imagine you were in charge of a museum’s collecting policy. What would you chose to collect and how would you justify these decisions?’