Wallace Collection

1. Labels. Wallace Collection

Share your thoughts on the identification of paintings within the Wallace Collection. Do the titles and artist names feel more integrated with the art when engraved/painted upon frames? Do you prefer object labels (separate labels outside of frames)? What feels appropriate for this collection?

I definitely feel that the names titles and artist names feel more integrated with the art when they are located on the frames of these paintings.  It simply feels more personal, as if the artist had signed the piece himself. When the titles and artist names are located on separate labels outside of the frames, it feels as if I am simply staring at an artifact rather than a piece of work created by someone.  For this collection, I definitely believe that it is appropriate for the labels to be engraved on the frame.  As this was a personal collection, these engravings feel more natural and make the collection look more like a collection rather than a museum.

2. Object of Appreciation. Wallace Collection

What object captivates your attention and why?

I would have to say that Jean Honore Fragonard's piece entitled "The Swing" captured my attention out of all of the artwork.  Notice how both men are enraptured by this woman on the swing, and how her dress is given a bright sheen to make her stand out.  However, the main reason I loved this piece was because of its social context.  Made in the year 1766, it is obviously one of the first pieces of pornography to be painted in such detail.  It is obvious that the man on the ground is looking up the woman's skirt, making this one of the most scandalous paintings of the century.

3. Object of Excessive details/ornamentation Wallace Collection

What object either intrigues or disgusts you based upon ornamentation (ornate or lavish detailing)

Louis XV's Commode was definitely a piece of furniture that stood out to me based on ornamentation.  However, I found this object to be intriguing, whereas other pieces seemed over the top and disgusting (green walls, apollo's clock, etc.).  The reason this does not seem too lavish is mainly because of the color scheme.  The colors are light and blend naturally with one another, and the brass overlays match the oak perfectly.  On top we have a dark covering of marble.  These combine to make a beautifully furnished piece of furniture that may get noticed but is never too loud.

4. Favorite Museum

Please tell me your favorite Museum experience and why?

My favorite museum experience had to the Saatchi Gallery.  I felt that only this gallery truly displayed pieces that exemplified what it means to be on the cutting edge of art.  Each piece felt bold, new, and incredibly interesting.  I loved the piece called "Down", made by the artist herself climbing down into a pit of clay, and how the human footprints sticking outside gave the illusion of clawing and scratching.  I loved "Swarm", which made even the everyday insects we take for granted seem epic and heroic.  It is true, none of these pieces could be considered classical.  But they still made me feel something, which is a constant reminder that truly anything can be art if it engages you emotionally and psychologically.

5. Museum Interest

Do you have a greater interest in visiting Museums after taking this course? Were you previously intimated by art? Do you have a greater interest in museum branding / design (logos, labels, mapping, graphics)?

I definitely have a greater interest in visiting Museums now that I have taken this course.  I have never really felt intimidated by art, though the only forms I had ever really studied were literature and music.  However, this class has opened me up the worlds of painting, drawing, photography, and sculpture.  On multiple occasions I found myself standing in front of a piece, engaging with it on an emotional level, and thinking "Wow, I've never had this experience before."  That was the gift that this class gave me.

All though I still do not have a great interest in museum branding, I definitely have a much greater appreciation for the work that goes into logos, labels, and mapping.  I never truly understood that those parts of the museum are works of art in themselves, all of which work toward expressing the distinct nature of the museum itself.  

6. Any additional comments

I just wanted to say that this has been one of the best and most intriguing classes I have taken.  Going to a different museum and exploring alternative forms of art every week has been sort of a dream come true.  Thank you for all of your enthusiasm, you made the trips so interesting!  Thanks!

Design Museum

1.  Design Nominations

Furniture
For the furniture award I would nominate Dune by Rainer Mutsch.  Not only is the asymmetrical wave-like design of each chair aesthetically pleasing, but the chairs themselves are also functionally useful.  Also, their design allows the individual to connect them in a multitude of different patterns to create a seating area.  Thus, the design enables the user to be creative and to mix and match as he/she pleases, making the design a fun way for owners to design their own seating spaces.

Transport
For the transport award I would nominate the Barclays Cycle Hire.  It is obvious that the bicycles themselves are not nearly as innovative (or even as remotely interesting) as some of the other nominees.  However, the Cycle Hire system itself does loads more for both the city and the environment than any of the other designs.  Not only has the Cycle Hire already been implemented, but it also encourages cheap transport, an active lifestyle, and a heightened environmental consciousness.

Architecture
For the architecture award I would nominate A Forest For A Moon Dazzler by Benjamin Garcia Saxe.  In my opinion, this design stands above all others in both elegance and simplicity.  It does everything a house should do: it shelters valuables, allows a dry place for sleeping, and has utilities for baking and cooking meals.  However, unlike most modern homes, this home embraces the surrounding world rather than excluding it.  The materials used make it a part of the surrounding forest, while the skylights ensure that one could see the sun or moon at all times.  This is truly a beautiful place.

Graphics
For the graphics award I would nominate A Love Letter For You by Stephen Powers.  I chose this design both for its message and for the nature of the art itself.  As street art, this piece may at first be considered both grimy and low class (notice the cheesy gold chain pictured below).  However, the simple message of "I Love You" written across the chain, possibly addressed to the entire city, elevates the piece above mere graffiti and into the realm of true street art.

2.  Wim Crowell: A Graphic Odyssey


I did not necessarily believe that Wim Crowell's work was too minimal, as the designs (especially the text designs) often varied greatly in both layout and color.  Rather, the work would better be described as modern.  Every text piece and graphic seemed painstakingly designed, using only straight edges and blocks of color.  All though this does not suite my aesthetic taste, I appreciate the ambience of simplicity and functionality that his work seems to radiate.  My taste lies more heavily among the explosions of color and controlled chaos that Jackson Pollock seems to evoke so easily, which is so completely different than the straight edged exactitude of Wim Crowell.  Overall, I would say that Wim Crowell's work reminded me very much of Mark Rothko.  They both prefer straight edge blocks of simple color and simplicity of design rather than freedom of chaos and movement.

Saatchi

1. Sightlines

The Saatchi Museum definitely employed a great use of space in order to create an environment that enabled a multitude of different sightlines when viewing a piece.  This is especially evident when one studies the placement of pieces such as "Up", "Down", and "Swarm".  Rather than being shoved up against a wall, these works were placed towards the floor center, allowing observers to walk completely around the object and to view it from multiple vantage points.  This created a feeling of immersion within the piece, allowing one to experience it in multiple ways.  This definitely diverts from the layouts found in many of the other museums, where the artwork is placed directly against the wall, limiting one's view of the piece.

2.  Didactics

For me, the absence of a comprehensive description of the piece within close proximity to the artwork itself did nothing to lessen my experience.  My relationship with the art is entirely based on how I see it visually, or what immediate feelings it stirs up within me.  An in depth knowledge of the piece's background (including the artist's intentions) usually does nothing to enhance that experience.  In fact, I feel that it may hinder my subjective opinion's of the piece, as I may force myself to see it the way the artist meant it to be seen, rather than simply allowing myself to see it in my own personal way.

3.  Collection

I definitely felt that the collection was more adventurous.  Most of the other museums we have visited feature pieces that are typically considered classically as "art" (paintings, drawings, sculptures, etc.).  However, here we see such pieces such as swarm, where real dragonflies and bumblebees are doing battle with fictional demons, all strung up in a three dimensional casing.  We also saw the incredibly unconventional Spam piece, where multiple posters were hung up displaying vulgar and nonsensical pieces of Spam.  However, although these are not necessarily conventional pieces of art, they definitely all had an effect on me, and both I believe made commentaries about life.  While Swarm made me question the idea of what is small and meaningless, the Spam piece made me consider the values of our society today.  For me, these are not meaningless pieces, they are steps forward.

Grafitti

1. Mary Poppins

This picture is truly beautiful.  Notice how the red dress she is wearing corresponds to the red dumpster on the left, allowing Poppins to successfully blend with the environment.  Above all, however, is the beauty of the idea itself.  Notice how grimy and blackened the rest of the parking area is.  The presence of Mary Poppins indicates a wish to simply pick up an umbrella and rise above all of it, above all the nastiness of the world.  In this piece, that wish is granted, which makes it not only beautiful, but also a celebration of the human spirit.

2.  After Lives

Here we have another thoughtful piece.  What the artist did well here was complement the term "After Lives" with a series of pictures that evoke mystery and a sense of barriers.  The after life of anyone cannot be understood or truly known while we are here on earth, thus we see in this piece a jungle which shrouds our ability to see beyond in, while the black and white checkered pattern suggests a wall which cannot be  seen past while we are living.  Also, notice how perfectly the location fits in.  The wall faces westward, so as the sun sets we see the orange glow which complements the orange coloring at the top, evoking more thoughts of the great beyond.

3. Bad #1

Possibly the only compliment I can give to this piece is that the artist had some skill when it came to forming his letters so they looked dynamic and textured using some shadow techniques.  This can especially be observed in the letter B.  However, besides that, I don't see the piece making any sort of statement.  It does not touch me on an emotional level or engage me intellectually.  Ugliness can be beautiful when used wisely, but this is just ugly.  The only reason it fits in with the area is because all of the work around it is just as wasteful.

4.  Type

This is just horrible.  The word "type", written in this way, inspires absolutely zero thought.  It is a lone word with little graffitti around it, meaning that it fits in horribly.  Even the type font of the type doesn't inspire any thought.  Just worthless.

When I first walked in to Sir John Soane's museum (formerly his house), I was immediately surprised by the breadth of paintings, sculptures, and architectural models that seemed to inhabit every inch of every room.  I walked through the tightly packed space, each beautiful room leading into another, and eventually found a staircase leading down into the dark interior of the building.

"There's a whole lot more down there," said a museum employee.  "Plenty of sculptures."

I looked down again into the dark, cramped space, contemplating whether or not the room would be big enough to store even a wheelbarrow, much less an entire collection of art.  I looked at the employee, who smiled.  So I smiled back and began the descent.

Downstairs, I found that the employee's tip was spot on.  The landing completely opened up into another  set of rooms.  I passed rows upon rows of artwork, walking quietly, pausing every now and then to consider the facial creatures of a Roman sculpture, or the intricacies of one of Sir John Soane's various architectural drawings.

Suddenly, however, I realized that I wasn't alone.  To my right, a young woman was also browsing the shelves.  She was dressed fashionably, and had a bright mane of blonde curls that circled her face and gathered up under her black scarf.  She was very beautiful, and I naturally began to feel quite awkward standing so close to her in an empty room.

I turned forward and began to study the painting in front of me, which portrayed a port where a white palace stood off to one side, nudging up against the water.  Ships were streaming in and out of the port, and behind the palace the sun was fading, rendering the sky a collage of pinks and yellows.  I wondered why, among other things, was Sir John Soane such an avid fan of art, why he dedicated so much of his time to beauty, to collecting paintings such as these over and over again.

As I stood there, I could feel the girl on my right moving closer to me, taking her time as she pondered each piece.  My hands began to sweat, as they often do in situations such as these.  My breathing became shallow as I tried to make myself as small as possible, as I attempted to hide among the beautiful works of art that surrounded us.

And then, suddenly, she stopped beside me.

"Amazing, isn't it?" she said.  I turned to her, and she laughed a bit.  "I mean, all of this."

"Yeah.  It is."  This was all I said.  We looked at one another for a few more moments and then she moved on.  In reality, it was nothing, but I left the museum that day feeling lifted, as if I had truly met a stranger for the first time in my life.  And that is what art can do.  It has the power to connect people, to join two strangers in mutual admiration of the work.  It was one of the best lessons I've learned yet on this trip.

National Portrait Gallery

Henry VIII

-For this portrait of King Henry the VIII, I decided to insert John McGuire.  I chose this because they are both big powerful men, and are basically bosses.  John also has a natural ability to grow glorious facial hair.  This, in combination with his size, induces fear in his enemies and respect amongst friends, much the same as Henry did.  Thus, they are a perfect match.

George Washington

-(This, as you will see, is clearly my object of desire).  I chose to match myself with George Washington.  My reasoning is simple.  We share much of the same qualities including a love of America, a love of freedom, and a love for being the best country on this earth.  Also, my skills at Risk (the boardgame) are pretty good, so we share a natural ability to command armies.  This all, of course, is in addition to the fact that both George and I have a natural, unbeatable charisma.  God bless you George, and God bless America!

John Donne

-For this portrait of John Donne, I chose my buddy Karl Iglesias.  I did this because they both are artists and poets.  Also, they are always looking very fresh.  Notice the chest hair I have included to illustrate the amount pure game that Karl exudes, much the same as the smooth talking writer of metaphysical love poems, John Donne. 

Bernard Montgomery, 1st Viscount of Montgomery

-For this portrait of Bernard Montgomery I chose my friend Matt Apel.  As I found out, Bernard Montgomery was a soldier in the first world war, and even after being left for dead in battle, he kept on fighting.  This fighting spirit and tactical mind is exactly what I see in Matt Apel.  I witness it in both his dedication to fitness and the pure tactical genius he displays when we play Risk.  Fight on, Apel, fight on.

Harold Wilson

-This I felt was an interesting choice.  Harold Wilson led a political career and eventually ended up as Prime Minister.  I therefore matched him with Max Florian.  This summer, Max will begin his political career with an internship at Parliament.  Another uncommon talent they share is the ability to smoke copious amounts of tobacco, indicated by the smoke surrounding the face in the portrait.  Incredibly important men, these two.

The National Gallery

1. Critique the logo

Is this just a typeface?  

After viewing the collection, would you propose a different typeface or a symbol?

Yes, I think it is rather obvious that this title is simply a typeface.  Although it is not an ugly logo to observe, it is also not very memorable.  This is due to the fact, in my opinion, that both words “National” and “Gallery” get pretty equal attention and are both displayed in the exact same way.  Perhaps there logo could involve simply the first letters “N” and “G” in some way, or more attention could be given to the word “National”.  Another idea would be to use the unique position of the museum’s location within

Trafalgar Square

, by perhaps including the four pillars of the Square within the title.  This would associate the logo with a specific area making it more memorable.

2. van Gogh

In your opinion, do the van Gogh paintings live up to their position in art history? Feel free to discuss: line quality, gestural brushwork, color, mood, subject matter, etc. You may also feel free to compare and contrast two van Gogh paintings (to elaborate on your level of engagement).

Although I do not think the subject matter of many of the van Gogh paintings depart from what was painted at the time (natural scenery, still life of household objects, self portraits, etc.), his interpretation of these subjects is entirely different.  The picture above is a great illustration of this innovative spirit.  One of the most prominent things to notice is his novel use of color and brushwork.  Notice how he uses bold color differences to highlight borders of objects, and how there is no smooth transition within an object from color to shadow.  Rather, any shadows on an object are just bold black strokes.

This particular use of color serves a critical purpose: it highlights each stroke, helping the viewer to pay a vast amount of attention to the brushstrokes used rather than the colors themselves.  Thus we are allowed to see the true mood of the painting.  We see that with this new technique of highlighting stroke, van Gogh can simulate a windy day simply by curling these strokes through the clouds, or making the lines within a tree non-linear.  In this way, the whole mood takes on a more tangible feel, and is a prime reason why van Gogh definitely deserves his place in history.

3. Object of Desire

What object from the collection would be suitable for your future home? Describe the characteristics that make this both a desirable work of art –and suitable for your future penthouse, cottage, log cabin, trailer… Please provide artist name and title.

Usually I rely on my camera to take pictures of the object and to remember the name of it, but they didn’t allow pictures in the camera.  However, they had this beautiful golden chest, about six foot in length, that would be perfect for a future bachelor’s penthouse.  I would insulate the inner lining of it, install plumbing, and turn it into a hot tub.  Naturally I would call it my Chill Chest.  The Chill Chest would be great for my “game”.  It solves two purposes.  Not only can a woman be looking at amazing art while sitting in a hot tub, but the small size of it guarantees that we’d have to be very close to one another while sitting down in it, allowing me to tactically escalate the romance in any dinner date.

4. Gallery / Display

The National Gallery has the brightest palette of wall color thus far from our museum visits. Do these colors enhance or interfere from the displays? Do you prefer the minimal palette of the Tate Modern in comparison?

I don’t necessarily think it would be fair to compare the Tate Modern and the National Gallery in the same way.  Yes, they both have drastically different color palettes of wall color.  However, each works to the advantage of its unique collection.  For example, I believe some of the beauty of modern art lies within its relative mundanity/bleakness, which is inevitably reflected in the blank white walls.  The National Gallery, on the other hand, is the exact opposite.  The colors of course are brighter and more vibrant, but this simply reflects and enhances the same mood we find within the gallery itself.  In both cases, the collection fits naturally within the surroundings.

5. Exploitation / Merchandising?

Does the use of objects from the collection to create merchandise such as handbags, umbrellas, and t-shirts diminish the original work of art? Are certain forms of merchandising more acceptable –and if so what are those forms –postcards and posters? 

I can understand why someone would take this position.  I, however, don’t believe that the art is being exploited.  There’s a general opinion that this art is elite and made to sit there so we can come through in lines and view them and consider them.  But art wasn’t made to be locked away.  Expressing a van Gogh piece on your handbag is just as interesting to me as a poster hanging up in one’s room.  Art is cultural, not meant to be locked away.  In my opinion, the more people with cheap but artful handbags, the better.

6. Object of appreciation

Provide a short description of your favorite object from the collections? Please provide label information such as name, date, origin, etc. Why would you return to this object for greater contemplation? 

Although I couldn’t decide on just one piece, I think that the collective works of van Gogh that they displayed were truly my favorite pieces.  For reasons that I explained in the second question, I feel that van Gogh is undoubtedly one of the most innovative artists of recent history.  His use of stroke created an entirely new way to make pictures innovative, allowing him to express movement as if it was actually happening across the canvas.  This, in my opinion, is pure genius, and has provided a whole new level of experience in his art.

Tate Modern

1. Critique the logo

There are variations of the Tate Modern logo presented with a range of blurred effects. In your opinion what benefit or distraction is executed with variations of the logo? Do slight variations connect to the range of contemporary art more than a static/single logo?

Modern art is defined by a conscious break from old art ideologies, focusing on the emotional undercurrents that live within the bleak, scattered images of our everyday world.  Thus, it is proof in itself that art can be found anywhere, in a million different forms.  In this way the slight variations within the logo become its great benefit.  It connects to the work because it represents the ability of art to morph into a million different forms, and yet, under these myriad possibilities, there is always the same message (Tate).

2. Free Admission

Every museum that you have visited has free admission. In Chicago, admission to the Field Museum (Museum for biological and anthropological collections) is $29 Adult and $20 child. Are museums only for the rich in the United States? How do free museum admissions impact the London culture?

Although I would hesitate to say that museums in the United States are only for the “rich”, I would agree that these price differences set art in our country to a different standard.  By paying nearly thirty dollars to see a collection of art, you are unconcsciously agreeing that that collection is something extraordinary.  It becomes something that is both restricted to and external from society, something that is elite.  However, here in Britain, the museums are free.  Although I do not necessarily believe that this completely breaks the elitist vision of art as held in the United States, it definitely makes art more accessible.  Rather than being locked away, it seems to be melded in with the culture in general, allowing the public to grow and contemplate whenever they desire.  Here the art is the internal heartbeat of London, not an external gem one has to pay to see.

3. The Unilever Series: Al Weiwei

The Unilever Series is comprised of millions of individual porcelain objects. The curator states the following, “Each piece is a part of the whole, a commentary on the relationship between the individual and the masses.” Do you agree or do you believe the installation falls short of answering pointed questions such as: What does it mean to be an individual in today's society? Are we insignificant or powerless unless we act together? Feel free to express your opinion on the ongoing discussion of installation art.

I think that this series definitely falls short of answering either of those questions.  Although I understood that the mass of sunflower seeds were indeed a simulation of the masses, I don’t necessarily think the artist made a commentary on the relationship between those masses and the individual.  What is this artist trying to say?  That the individual is helpless among the sea of thousands?  Perhaps, though this wasn’t the original message that struck me.  I think a sea of seeds is simply too neutral a gesture to really inspire much contemplation.

4. Display

The gallery walls remain white throughout the Tate Modern exhibition spaces. Does the color white enable a neutral field for contemplation of the contemporary and modern art? Would you prefer a break in color – an introduction of additional hues to alter the experience, or do the corridors and spaces in between art displays enable visual pulses?

I believe much of the beauty from modern art lies in its relative simplicity and, at times, neutrality.  Thus, it would not be good to have a color scheme that enables the walls to distract form the work itself.  The color white enables the art to break from the neutrality of the background and shine.  These little moments of artistic bursts become that pulses that guide you as you walk through the museum.

5. Power station to Art museum

Describe your impressions both exterior and interior of the Tate Modern building. Is this an ideal building to house a modern collection?

Although the concept may seem strange at first, I believe that this site is perfect for housing a modern art collection.  The outside suggests a bleak sort of industrialism, a remnant of the working class.  The interior feels much the same, except much cleaner.  The interior walls are lined with iron beams that support the skeleton of the buiding, giving the museum a cold, bleak feel at times.  However, as a factory is on its own representing both a certain period and culture, it may even be considered a piece of art on its own.  Modern art is all about the contemplation of one’s position in society, and therefore the building is perfect to house the collection.

6. Object of appreciation

Provide a short description of your favorite object from the collections? Please provide label information such as name, date, origin, etc. Why would you return to this object for greater contemplation? 

I think the two pieces entitled Portrait 1986 and Portrait 1988 by Thomas Ruff were my favorite works from the collection.  I love how, rather than using sculptures, he uses photography to capture human expression.  However, the originality of these works derive from the complete lack of expression by the people themselves.  Notice that they are both well groomed and colorfully dress.  Indeed, everything about their appearance suggests success and happiness.  And yet, they seem almost robotic in their emotionless state.  This therefore leads to contemplation about the conflict between our interior selves, which is who we may truly be, and the exterior shell we choose to show the world.

Tate Britain

1. Critique the logo

Does the logo relate to the architecture, galleries, and collections? 

Describe the overall essence/energy?

The Tate Britain logo is displayed with letters that are fuzzy and less focused around the edges.  This gives the letters the slight appearance of having been spray painted there, which is a very modern form of art.  The font also lends an air of mystery.  All letters are out of focus, and the hole in the middle of the “A” can’t be seen.  These characteristics therefore feel as if a message is trying to work its way through the paint, although that message might not be crystal clear.  This relates to the art found in the galleries, where it often feels as if an emotion is pushing through the art, although the exact message in the work may be up for debate.

2. Ophelia

For members of the Theater class please contrast the depiction of Ophelia’s death in Director Nicholas Hytner’s Hamlet with the visual depiction of John Everett Millais painting. For members not enrolled in the Theater class, discuss why you think this painting is one of the most popular artworks in the collection. Is it part of the fabric of English Literature? Note: it is the highest selling postcard in the museum shop. 

The depiction of Ophelia’s death in Director Nocholas Hytner’s Hamlet was quite different from the scene depicted in the painting.  For example, in the play Ophelia is taken offstage and killed by an agent of a modern day policed state, whereas the painting is the classical display of Ophelia drowning.  However, I’d say possibly the greatest difference between the two depictions is that, in the play, Ophelia’s death is always done offstage, so we never see her die.  Thus, the artwork is able to offer a sense of closure to her death, in that we can physically see her on the canvas and we know that she has died.  In the painting, there is neither mystery about her death nor room for interpretation, while in the play it is our imagination that must be relied on in order to fill the gap.

  3. Display

Compare and contrast the varied display techniques of Gallery 11 and Gallery 9. Discuss the relationship of the sparsely arranged style with the modern art in contrast to the salon style hanging (presented in groups with multiple rows) of the Pre-Raphaelites.

I feel that the Pre-Raphaelite art means to impress visually and powerfully, whereas the modern art works to create feeling through experience.  The main differences are readily apparent.  In Gallery 9, the paintings were all done with an eye for detail and lush scenery, all of it framed by a large golden frame.  They were also all bunched very closely.  The modern art, on the other hand, often featured only solid backgrounds with simple geometric shapes in the foreground.  They often had no true frame, and there was also a lot of spacing between each painting.  The lack of a true frame made the art seem to blend into the wall, and so my emotional reaction was actually based off the room itself rather than on one single piece.  In contrast, the Pre-Raphaelite work was made to impress visually, and each piece could be viewed and contemplated on its own for long periods of time.  Thus, the modern pieces all worked together to create an emotional ambience, whereas the pre-Raphaelite pieces were independent of one another and expressed their own unique voices.

4. Installation Art

Describe your experience of “The Coral Reef” by Mike Nelson. Elaborate on the odors, navigation, mystery, etc. In your opinion – is this art?

The coral reef was a collaborative maze of various rooms, each representative of a certain lifestyle and decorated accordingly.  For example, in one room was a crack pipe and tin foil, whereas the very next one was a sixties style basement, carpeted and featuring hangings of John F. Kennedy.  However, most of the rooms shared a common, musty odor, as well as a sense of abandonment, as each room was rather sparse and poorly lit.  The gallery was also rather confusing to navigate, as the rooms were arranged in a sort of maze, so that you were rarely walking along the same direction twice, and often didn’t know if a door led to another room or if it would just be locked.

            In my opinion, this should definitely be considered art.  The main purpose of art is to evoke emotion or thoughtfulness within the observer, and I thought “The Coral Reef” did exactly that.  I frequenty felt lost, not simply because the gallery was hard to navigate, but also because of the sense of loneliness those sparsley decorated rooms seemed to evoke so easily.  It felt as if I was often intruding on the secret life of some person I did not know, which is the type of mental transformation I always look for in art.

5. Tate Britain versus V&A

Which museum experience did you find most favorable and why? Items for discussion: architecture, collection, navigation, etc. 

I think the Tate Britain was more favorable.  I base this not necessarily on navigation, as both museums did a pretty good job with that.  More than anything I just enjoyed the work more at the Tate, especially those pieces by Turner featuring vast landscapes and monumental storms at sea.  What grabbed me about these works was the scope.  He often included a detailed foreground scene, but it always seemed to be overshadowed by the openness of the horizon, evoking a sense of wonder and beauty from the world we know.  The V&A just tended to feature a lot of historical artifacts and work, which didn't really move me in the same way (although it was interesting).

6. Object of appreciation

Provide a short description of your favorite object from the collections? Please provide label information such as name, date, origin, etc. Why would you return to this object for greater contemplation? 

I would have to say my favorite part of the museum was “The Coral Reef” by Mike Nelson.  Walking through that exhibit was one of the only times where I felt that I was actually experiencing art rather than simply observing it.  I was completely immersed in a multitude of worlds, and I loved how the loneliness and hopelessness felt almost palpable depending on the room.  It was truly an original piece, and I felt completely transported into a world other than the one I know.

Victoria and Albert Museum

1. Critique the logo

Does the logo relate to the architecture, galleries, and collections? 

Describe the overall essence/energy?

The logo contains a V, followed by the symbol “&” which is integrated into the right crosshatch of the letter A.  Notice that both of the letters (V and A) and slightly larger in size than the symbol &, allowing them to stand out as the primary focus of label, and thus the name “Victoria and Albert” becomes a primary focus as well.

            Also notice how the swirls and circular dimensions of the symbol “&” contrast with the rigidity of the two letters which border it.  The symbol “&” is also fully integrated into the letter A, as one of it’s feet becomes the horizontal crosshatch for that letter.  Both of these facts give off an essence of elegance integrated into solidarity, the organic with the geometric.  This reflects the nature of art, the ability to use hard skill to produce beauty, and is especially a reflection of both the Ironwork and Islamic Middle East collections.

2. Cast Courts

Describe your immediate impression(s) of walking into the Cast Courts (Gallery 46a / 46 / 46b) Gallery 46 possible closure. What educational purpose do these collections provide to visitors?

My initial impression upon entering the Cast Courts was one of grandeur.  Operating much like a cathedral, the main attractions, such as Trajan’s Column and the Statue of David, worked to draw my gaze skyward.  This made me truly feel the visceral weight of history, and helped to convey how small I was within the context of those who’ve come before me. 

            I believe the educational purpose of these collections were twofold.  As already mentioned, the collection inspires both awe and respect for the ability of past civilizations to create such works of beauty.  But they also work to communicate the values and the history of that time period.  For example, the Statue of David illustrates the great emphasis placed on the beauty of the human form, whereas Trajan’s Column literally tells the story of Roman military exploits.  Thus, in one swoop we are given both a knowledge of civilizations long past, but also a due respect for them.

3. Isotype

Do the icons/symbols represented in the Isotype exhibition have greater personality than the international system of signs? Elements to consider: legibility, color, dimension, mood, etc. Does this method of information graphics (image + text rather than text exclusively) communicate with a broader range of individuals? Exhibition location: Gallery 17a / 18a

The international symbols definitely seem to have a better degree of legibility than the symbols found within the Isotype collection.  This is mainly due to their black and white color scheme, which stands out very well and is both crisp and easy to see.  Also notice the uniformity of height and dimension within the international symbols, so that they appear less like images of people and more simply as units.  Thus, because they are better suited for legibility and also uniformity, they are would be better recognized globally than those found within the collection.  On the other hand, the non uniformity in both color and size of the images found in the Isotype collection allow them to convey moods and a sense of artistic freedom not necessarily found within the international symbols.

            This method of including imagery with text definitely communicates with a broader range of individuals.  In essence, the uniformity of the international symbols has allowed us to create a language of images, independent of the written languages that often serve to separate foreign peoples from one another.  Thus, it is a globalizing art, one that serves functionally to connect and bridge language barriers.

4. Pattern

Compare and contrast a pattern from the Ironwork collections (Galleries 113-114) with a pattern from the Islamic Middle East collections (Gallery 42) textile, vase, tiles, etc. Elements to consider: figure/ground, color, repetition, scale, rhythm, mood, etc.

In these two examples (one from Ironwork and one from Islamic Middle East), I believe the similarities in design far outweigh some of the more superficial differences between them.  Of course one object is a black, iron wrought overhang while the other is a colorful, circular plate.  What is most surprising, however, is the degree of similarity despite these differences.  The primary element connecting these two pieces is the way in which an organic element was arranged so that it felt both geometrical and symmetrical, so that there is a sense of balance within the vibrant life conveyed. 

            In the Ironworks piece, we see a set of five angels with looping, curling wings set along leaves that border a semicircular structure in the middle, which also contains a leaf/shell within its borders.  However, although the absence of straight edge lines evokes a sense of organic development, the symmetry (notice how the angels project off the center piece as perfect mirror images) keeps us grounded in pattern and design.

            The same may also be said of the Islamic Middle East piece.  Notice how the flower petal design as well as the color scheme (blue, brown and green) evoke a sense of life and the organic, whereas their symmetry around the center conveys pattern.  Inevitably, it is the symmetry and design that works to structure the organic and truly give it beauty.

5. Underground

How do elements of the Underground (identity/architecture) contrast to the Metro transportation in Madison? Feel free to discuss logo, color, bus stops, signage, mapping, etc. Exhibition location: Gallery Architecture Room 12a

In this section I mainly want to discuss the different elements utilized in the design of the two systems’ respective logos.  The Underground logo, to a small degree, uses elements found within other galleries of the museum.  For example, we see the mixture of a circle stamped with a hard, horizontal crossbar across the middle.  Thus, to some extent we have here the return of that classic mix between organic and symmetrical/design.  It is simple yet elegant.  Also notice that this is truly the primary focus of the logo, not necessarily the word “underground” written inside.  Although “underground” is very legible and centrally placed, it is the contrast in shape (circular vs. straight) and the symmetry they create that truly grab the attention of the viewer.  This combination serves to create one of the most memorable logos I’ve seen since arriving in London.

            The Madison Metro logo, on the other hand, does nothing of the sort.  Simply tilting the frame of the logo seems to imply speed, but really it just serves to destroy that element of symmetry and solidarity that the Underground logo evokes so well.  Also notice how the Metro system overemphasizes the letter “M”, whereas the Underground logo emphasized the shape of the logo itself.  The difference, quite simply, is that the letter M, or any letter for that matter, is not very memorable, and certainly doesn’t evoke an idea of the Madison metro system.  I have seen the letter M a million times in other places, and so choosing this as one’s primary logo leaves the logo stranded in the land of unoriginality.  Even the color scheme ruins the symmetry, as there really is no reason to have those colors only at the top, or even to have them at all.

            The difference in busses is also notable.  London’s busses are a bold red, and are also contain a double deck which has served as an icon of the city for quite a while.  And once again Madison’s buses fall flat.  There is nothing memorable in their color scheme, and certainly nothing in their design that evokes originality or allows it to be remembered.

            Thus, I would encourage the Madison Metro system to take a look at the Underground logo and bus design and attempt to find their own logo and therefore a new identity.

6. Object of appreciation

Provide a short description of your favorite object from the collections? Please provide label information such as name, date, origin, etc. Why would you return to this object for greater contemplation? 

            I would have to say that my favorite object within the collection was Trajan’s Column, found within the Cast Courts.  It is a truly beautiful Roman work erected in A.D. 113, and is dedicated to the military exploits of Emperor against the Dacians of the Danube Frontier in the year A.D. 101-102 and 105-106.  This object stands at a surprising height of 38 meters and carries the story of those military exploits, told by the carvings that surround the column from top to bottom.

            The reason I’d return to this item is simply because it was this item that truly elicited an emotional response from me.  Not only did the height of the object strike me with awe, but also the carvings.  The carvings not only serve to please the eye, but also to tell a historical story.  And there is beauty in this, for the same reason that there is beauty in literature.  This column is not only pleasing to the eye, but it reminds us of the importance to record events, for the driving need to remember.  That is why I found this item the most striking in the museum, and I would definitely return to further contemplation.

Science Museum

1. Critique the logo

Does it relate to the mission / subject matter / content? 

Is it appropriate for the audience?

The logo for the Science Museum makes great use of both space and font type to give the museum a trademark which relates fully to the subject matter of the museum itself. 

Perhaps the most notable feature about this logo is the breaking up of both “science” and “museum” into two rows.  This at first appears rather cryptic and illegible, but that initial feeling is soon eased by the uniformity we find among the font type.  The entire logo makes a near perfect rectangle, and the letters are lined in complete unison.  This allows us to “decipher” the message, which is exactly the method science chooses to answer the mysteries of the world.  This, of course, is in addition to the font type, which appears sharp and mechanical, as if it were engineered and robotic.  Thus, this logo is both perfect for the subject matter (science) and is clearly meant for a logical, thinking audience.

2. Navigation

Is there a clear path to exhibitions? 

Do the signs adequately navigate users?

Does the museum plan allow for several paths?

Is the handout/map legible for navigation?

Navigating the science museum was relatively painless.  Upon entrance to each floor/section, there was always a sign listing all of the exhibits that could be found on that level (along with arrows pointing out directions).  This was done cleverly, because it allows the public to decide for themselves if they would like to participate in those exhibits, rather than forcing them through each.  Indeed, having options was the best part about navigating this museum.  Each floor had multiple exit/entrance points (stairs, elevators, etc.) each located near a different exhibit on that floor.  This facilitated an open ended exploration of the museum, where one could exit the current floor almost on a whim in search of new excitement.  Signs near these exit points were also incredibly helpful, as they indicated the exhibits to be found on other floors, and whether to walk up or down.

The map was well laid out, uncluttered, and effective, with a font choice that is clear and legible.

Perhaps my only gripe with the layout of the museum was with the location of the exhibits labeled “Who Am I?” and “Atmosphere”.  They were located on the second and third floors respectively, though what I found strange was that the rest of the floor was inaccessible from these points.  Even though this rather isolated area only contained two exhibits, I still felt that it somewhat dampened the open ended feel.

3. Shop / Cafe

Describe how the shop and cafe extend or compromise the brand? Do products (merchandise) reinforce the brand?

The shop and café were both located on the ground floor nearby the entrance, therefore providing a memorable rest area where one could both purchase food and merchandise easily.  Both were labeled in the same mechanical font similar to that found on the museum’s main logo, thereby extending the brand, as well as allowing these areas to blend in easily with the rest of the museum. 

The café was laid out wonderfully.  There was a wall circling the entire thing that was probably a little over four feet in height.  This allowed one to peer into the café, which felt accessible.  On the other hand, the wall also created an enclosed, designated area which was completely distinct from any exhibit, allowing the customers to feel secure and comfortable.

The shop was also great.  It was a large, open space that allowed for free movement and exploration.  This made it feel like an exhibit of its own.  The merchandise also fit the brand.  The toys were fun, but were also incredibly interesting, and many had functions that made me think of science fields such as physics or robotics.  For example, as soon as I walked in, I noticed an employee standing in the center of the shop throwing a small boomerang in tight circles to himself.  Not only did this make me consider the wonder of the boomerang’s abilities, but his act of throwing this thing in a store encouraged shoppers to explore in a very “hands on” sort of way.  Thus, the exploration and discovery aspects of the museum were represented wonderfully well in the shop.

4. Display cases

Compare and contrast the display cases throughout the museum.

Do they function to protect? How is text integrated into the display?

Display cases tend to have a very difficult job.  They must both draw in the viewer by making the object accessible, and yet they must also separate the viewer physically from the object.  In my opinion, the Science Museum’s strength was in how they decided to functionally protect each object, and how the method changed depending upon what the object was.  For example, objects that were either small or fragile were kept in glass casings throughout the floor of the museum.  I agreed with this choice, as these objects, fragile as they are, need complete protection.  On the other hand, large objects that aren’t easily damaged (such as tractors, steam engines, etc), were often left in the open, with only a waist level railing surrounding them.  Sometimes they were elevated on a platform.  What I loved about this is that this displays trust while encouraging an interactive environment around the object.  And yet, it also displays clearly defined set boundaries. 

The text was very insightful and blended easily with the display.    Often, the text displayed a similar color scheme either with the display itself or with the environment surrounding the object (see the plasticity photo how the sign completely matches the red plastic environment).  If the text was located on a waist-high rail, there would frequently be an arrow pointing to the object it described.  Thus, attention was always being directed towards the object, which was clearly meant to be our main focus.  The text acted in a more supportive role.

5. Exhibits

Describe the details of your favorite exhibit

Consider color, layout, content, objects. Why is this memorable?

My favorite exhibit was definitely the “Who Am I?” exhibit.  Immediately upon entering the room, it became clear that the displays were very different from any I had seen up to that point. 

Nearly all displays were interactive.  At all points on the floor, I saw people laughing, poking at glowing screens, standing for a picture in front of a machine, etc.  One exhibit involved creating an avatar of yourself, where you would get your picture taken and then have it uploaded onto a screen.  From there you could analyze things such as your facial features.  At another table, various visitors sat at screens around a table, where they competed in games that tested things such as reaction time and memory.  At yet another display, one could test how masculine or feminine they really were by responding to a series of questions.  All of this was held in an open, free environment, encouraging us all to move around and to literally discover who we were in step-by-step fashion.  For the first time during the visit, I literally became the object of interest, and was allowed to explore to the fullest.  This is the true method of science, and therefore this exhibit felt like the best reflection of the museum’s theme.

6. Facts

What critical information did you learn from your visit?

In my opinion, one of the most important facts displayed within the museum was the DNA model, which was discovered in 1953 by Watson and Crick.  This structure facilitated our understanding of nearly everything we know about DNA, such as how it divides, why there are certain exact ratios among its molecules, etc.  It was a truly pivotal shift in our thinking, and expanded our knowledge within many fields like microbiology, medicine, and even evolution.  Thus, it deserved its spot in the museum, and I believe it is a critical piece of scientific history.

However, I would say that what I got out of this experience goes far beyond any one display.  For the first time, I actually was paying more attention to the layout of the museum, and attempted to understand why it was laid out the way it was.  Thus, I learned much more about design and functionality than I ever thought I would, and to me this was the most important part about the visit.