1. Who do our museums cater to? Are well-known museums in the U.S. (the Met, National Gallery, the Getty, etc.) a true reflection of the nation’s values and history in art or do they cater to a specific class/group? [Ex: Met has many exhibitions but their exhibition on costume/fashion from 18th C. forward focuses solely on Western fashion and design.] (pp. 60)
  2. Does viewing a piece of art really force interaction with it? Even if viewers “reject the attributions of identity which the exhibited artwork project,” are they really still forced to “deal with them” – does simply ignoring a piece really support your rejection of it or is there any real action at all? (pp. 58)
  3. What would our imaginary exhibition say about us in thousands of years? (pp. 74)
  4. I found the statement “The prerequisite of silence, or of low-level speech, which prevails in modern art museums, is covertly posited on similar assumptions about sacredness and the attentiveness of higher powers” very interesting. Are there other places in society where we are expected to be quiet (theater, library)? Is this practice specifically a part of our culture and/or how do other cultures address and interact with topics such as art, theater, etc. (pp. 77)
  5. Why is there a trend for non-Western countries desire to have their “art” returned while there is little desire for Western art to have its “art” returned to its home country. Should pieces that originated in another country (through conquering, trade, or collection) ultimately be returned to its home country? (pp. 89-90)

Other questions: What is the purpose/goal of Exhibition, Real and Imaginary? What does “Stated very briefly: Modern art, with its imperative of formal evolution – and above all, abstract art, with the claim that it transcended social forces – …” (pp. 86)

E. Banaszak, Hope College, Class of 2017

 

Source: http://www.stockvault.net/photo/147105/louvre
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