During the show Work of Art: The Next Great Artist many critiques were made about how the show was not true to an artist’s process and that it was highly scripted or at the very least planned out to make ‘good television.’ While this makes for good entertainment, this does not necessarily mean that the show should be taken as a documentary. The show may be entertaining, but it should not be thought of anything other than that; it should not be taken as how artists actually work in real life.
Fans of Indiana Jones and National Treasure may dream of one day finding immense wealth buried under their feet. However, in today’s world, not only is it unlikely to find such a treasure, it is also unlikely that the finder will get to keep it. Nations of the world have property laws for archaeological finds, and one such a nation is the United Kingdom. While the finders of wealth may get compensated for their finds in the UK, the treasure itself is often sold off to museums. A good example of the treasure laws that the United Kingdom uses is that of the Staffordshire Hoard. The Staffordshire Hoard is a unique find from a time that scientists do not know much about; even though it is important to study such a find, it should also be a source of pride for the local people and local museums.
Although contemporary sand mandalas are not created with the same exact ritual practices as the older mandalas, Tibetan sand mandalas are rooted in the same traditions as the mandalas on wall scrolls of previous generations. Both sets of mandalas are rooted in traditional Buddhist practice and have the same intended religious meaning, although the symbolic natures are different. As an example of this, I will be comparing The Kalachakra Mandala: Man and Cosmos scroll (Rubens Museum Exhibition) and The Kalachakra Mandala, otherwise known as The Wheel of Time Sand Mandala.
Eva Hesse is widely known for anti-form sculptures, but her other works are hardly known at all. In fact, she did not title many of her earlier works and most of them are sketches for works she never completed. The work she is best known for, the string sculptures and other anti-form works, were a direct result three-dimensional representation of her earlier untitled paintings and drawings. This connection was not purely on a formal level, but also on an ideological one. These drawings were influenced by her teachers, many of whom taught and made abstract expressionist work, and it was that expressionism which influenced the movement and creation of her work as much as, if not more than, the minimalist artwork that was also common at the time. This is continued further to explain how she took ideas from both movements, as well as neo-surrealism, to create her own style of artwork.
An elite group of art thieves breaking into an Egyptian museum is a romanticized notion that movies and works of fiction have speculated about for what seems like centuries. For today’s museums, however, protecting ever-popular ancient works of art is a huge and costly reality. The need to protect artifacts from theft, while still allowing patrons to see and learn from these works, is a complicated science. Security on all popular works of art is important, but it is specifically important for ancient works, which are subject to natural erosion and destruction over time as well as destruction due to crime.