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  • The Museum and Institutional Critique | archandphil

[] For example, check out , which showcases the ways outside programmers use the museums’ data to develop new software.

Critic Reviews for Museum Hours - Metacritic

Night at the Museum 2: Battle of the Smithsonian Reviews

“The British Museum Website” Design Critique - Medium
Lewis claims that "The only resolved passage of the whole ensemble is the museum," but does not explain. Instead, Lewis goes on to criticize the layout for not forming a grand monumental axis like the great lawn at the University of Virginia: "Meier seems to have gone out of his way to thwart this. His separate pavilions are a jumble, and the main view, which might have been a heroic procession, is blocked by a centrally-placed support on the rotunda precisely where a visitor might most advantageously place himself."

From Museum Critique to the Critical Museum

From Observation to Critique. The Critical Museum Visitor and New Museum Theory. Questions for Discussion. Get PDF : This Chapter (732K) All Chapters.
Formed during the Occupy Wall Street movement in 2011, Occupy Museums connects the struggle for economic and social equity to art institutions, highlighting instances when they propagate and normalize injustice. In 2012, the collective launched Debtfair, an exhibition platform that categorizes artists according to their debts and other financial realities. The system reveals the relationships binding individuals to the banks holding their loans—a hidden but highly consequential factor underlying American art.


Visions Art Museum – Contemporary Quilts

How to: critique artwork like a pro. Posted on March 15, 2007 by jamie. Does the thought of an impending art critique bring tears to your eyes?
In Root sequence. Mother tongue, Asad Raza brings the forest—a space of myth and fairy tales—into the Museum. Raza has described the twenty-six trees growing in the space as characters, individual inhabitants in a living network that includes the humans charged with caring for them. Included in the installation are personal possessions belonging to the trees’ caretakers. Raza intends to create an environment that gives visitors a parklike respite from the tasks of viewing, judgment, and critique that usually constitute the museum experience.

If Haacke’s work opens up the space of the museum to critique by tactically exposing its covert relationships with other institutions—the network of activities covered up by institutional strategies—it is to show that aesthetic autonomy is but an illusion that suppresses the actuality of its relations.
Born 1987
Lives in Oakland, CARelying almost entirely on the written word, Porpentine Charity Heartscape creates web-based games that build fantastic and frightening worlds a player must navigate by making choices. Heartscape employs popular genres and narrative tropes to examine power dynamics and conflicting feelings of dignity and shame, at times directly challenging or frustrating the player.In With Those We Love Alive, the player is an inventor who must recover from childhood trauma while performing tasks for a monstrous empress. The player is sometimes prompted to take action in the real world—to literally draw occult signs on her skin representing her feelings during the game, for instance.In howling dogs, the player is alone in a metal cell. Days pass, punctuated only by meals, sleep, and periodic withdrawals into virtual reality, worlds within the world of the game that summon both the pleasure and the danger of escapism.

I visited the Museum of Fine Arts at the University of Utah campus

Talk Origins Index of Creationist Claims:

The Anti-Museum:

Creation Museum Wants Police Power: Asks Kentucky Governor Ernie Fletcher for Special Permission.

K-9 training:

Kentucky Commerce Secretary George Ward's comments:

Reply to protestors on dinosaurs:

Jack Chick Tract Big Daddy:

Leaking Zircon argument:

Sodium in the sea:

Magnetic Field:

Blood and Soft tissue in Tyrannosaurus: and

Revised on April 2, 2009, to clarify a reference to homeschoolers.

San Francisco Museum of Modern Art · SFMOMA

Visitors had four minutes to respond to each question, and the story capture experience averaged ten minutes. Richard Rabinowitz, curator of Slavery in New York, noted that the progressive nature of the questions yielded increasingly complex responses, and that “it was typically in response to the third or fourth question that visitors, now warmed up, typically began relating the exhibition to their previous knowledge and experience.” Rabinowitz commented: “as a 40-year veteran of history museum interpretation, I can say that I never learned so much from and about visitors.” It was the lengthy progressive response process that turned what is often a series of brief and banal comments into a rich archive of visitor experience.

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Among the early 1990's articles, this is the most perceptive, in-depth account of the Getty Center design. It is one of the few articles to mention the extensive, partially underground areas of the Center: "Buried in the hillside, these subterranean facilities help reduce the visible impact of the complex both from within the center and from the outside." Whiteson notes that "the architectural grace of the center's internal composition does not reveal itself to passersby. . . . As a consequence, the Getty's architecture lacks a clear image to offer the outside world." "Meier has succeeded brilliantly in creating a lucid and powerful presence within the bounds of the complex itself. But in the face it presents to the city at large, the center seems crude and out of sympathy with the natural features of the site." The article describes the design for the ravine between the Museum and Research Institute before Robert Irwin was commissioned to design his garden sculpture: "A terraced Italianate garden filled with trees and small temples falls away down a ravine between the two main wings of the complex. At the foot of the garden is a colonnaded loggia that frames the view over Sunset Boulevard."