Sample Art Paper on A Day in The Metropolitan Art Center

A museum is a permanent non-profit institution in which objects of historical, scientific, artistic, or cultural interest are stored and exhibited to educate, study, and enjoyment. This paper analyses the experience in the museum giving comprehensive details about the most exciting exhibition in the Metropolitan Museum of art, which is based in New York. The museum is the home to over two million works of fine art which are featured in an online collection through the museum’s website, and it offers virtual tours of some of its impressive pieces, inclusive of the works from Vincent Van Gogh, Jackson Pollock, and Giotto di Bondone as Ragsdale (2009) confirms. Also, the institution works in hand with the google cultural institute to make more artwork available for a view that is not featured in the online collection.

The museum has a website( in which it welcomes everyone to their blogs. An email is used when posting comments, and the museum will not use this email in the way unless permission is specifically requested and granted, and they are not shared with the third parties for marketing purposes. Data collected from a client is used to personalize the website so that client’s needs are better met, fulfill the client’s order, facilitate customer service, inform clients of products and promotional offers, analyze trends and collect statistics. Data that the client provides alongside his or her transactions are recorded in a secure database. The museum, through the website, asks for feedback and publishes surveys on the website or any third-party service provider; however, these surveys’ participation is optional. The survey responses on this website are meant to improve the understanding of clients and better in serving their needs.

Ensuring security on the website, it utilizes the Secure Socket Layer technology, which encrypts the client’s transactions made by credit cards. Also, it maintains data accuracy through the use of physical, electronic, and administrative, which also prevents the access of information and ensures the correct use of information. The website also uses cookies and pixel tags in order to improve its effectiveness and client experience. Cookies are small data files stored in computer hardware that are automatically sent to a client browser and remember what items are shopping cart and to personalize client experience. Pixels are tiny graphical images embedded in the website that help determine what parts of the website that the clients have visited. The technologies do not contain any personal information about the client. However, they are used to gather data in order to analyze traffic on the website and improve the museum content and navigation, to boost the museum marketing efforts, to personalize clients’ understanding, and to deliver online exhibition promotions tailored to clients’ interests based on clients online behavior.

The Metropolitan Museum of Art has several exhibitions that are offered through virtual tours, which include Art of Native America by Valerie Diker, Sahel: Art and Empires On The Shores Of Sahara, In Pursuit Of Fashion by Sandy Schreier, The NewOnes, Will Free Us by Wangechi Mutu and others. The exhibition that took me by glance is The NewOnes, Will Free Us by Wangechi Mutu, who is a Kenyan- American artist. The NewOnes, Will Free Us invests a yearly commission to animate the Metropolitan facade. Being designed by Richard Morris Hunt and completed in 1902, the four niches featured in the faced have been lain empty as they were intended to house free-standing sculptures, as White (2010) confirms. The museum brings into fruition the dream 117 years later by filling in the Muttu’s extraordinary sculptures.

In the metropolitan’s invitation to Mutu, she has responded by designing four bronze sculptures individually titled The Seated I, II, III, and IV. As with all her work pointed as it is poetic and fantastic, the pieces participate in a critique of sex and racial politics. The caryatid is the artist reimagined idea with The NewOnes, Will Free Us that is common to the history of western and African, being a sculpted figure that almost always female, which is meant to serve as means of either structural or metaphorical support. The caryatid has always been limited to her character as a cargo-carrier, whether carved out of wood for the stature stool of the West African king or molded put of marble for construction on the Athenian Acropolis.

Mutu stages a feminist intervention in her part by rescuing the caryatid from her traditional roles and her subordinate rank. Moreover, Mutu does this in the context of the neoclassical façade, where a conservative set of values were sought to be conveyed by the original architects. Each sculpture is unique with individualized hands, facial features, garnishing, and patination. From the customs exercised by the high-ranking African women of specific groups, Mutu’s embellishments take a great deal of inspiration. Functioning as garment and all in one armor, the horizontal and vertical coils sheathe the figures’ bodies, reference beaded bodices and circular necklaces and the elegant discs set into unlike sections of the sculptures’ heads refer to edge plates. As they announce the authority and autonomy, Mutu’s composite figures are unvaryingly stately, robust, and confident since they do not belong to no one time or place. They bring the world of new ideas and new perspectives since they appear to have arrived in the metropolitan museum recently.

The NewOnes, Will Free Us contains to date the work of Mutu that is most important and remarkable, laborious research into the relationship between power culture and representation, and sustained artistic experimentation of two-decade culmination.  With the exhibition titled The NewOnes, Will Free Us, the new ones are new immigrants, children, women, and all people who bring new ideas. If the activists and environmentalists who deliver different methodologies for the future are not here as species, none of the astonishing works of art and linguistic and theater that have been shaped in the history of humankind will matter. Helping us to understand that we can do something unlike, are the four seated figures that deliver the urgency of this moment.

In conclusion, the experience at the metropolitan museum of art is incredible. Virtually it utilizes spherical 360° technology, which allows the survey of the museum’s iconic spaces. It allows one to shift his or her point of view up, down, and around in all directions. The outcome can seem downright trippy, especially since a super-mellow ambient soundtrack convoys each sequence.



Work cited

Ragsdale, J. D. (2009). American museums and the powerful impulse: Architectural form and space as social influence. Cambridge Scholars Publishing.

White, N. E. (2010). AIA Guide to New York City. Oxford University Press.