Written By: Cameron Stueber
From city streets to quiet galleries, the setting of an artistic museum goes from ordinary to unorthodox.
Museums on nearly every continent house collections of the finest and most extraordinary works of art and creative expression. In France, they have the Louvre, which is home to a collection of some 30,000 items, including an assortment of paintings from early 17th century Holland, and an array of Ancient Egyptian tombs. In North America, The Smithsonian and a variety of Natural History Museums preserve an amount of knowledge and artwork that even hours of silent contemplation could not fully encompass. There is also the Australian Museum in Sydney, Australia and the National Museum of China in Beijing. They are amongst the most notorious and well-known museums around the world where people go to share in the knowledge and appreciation of history and creativity. However, the similarities that define such places expand far beyond the walls of any exhibit.
Where the consideration of museum walls fall short to contain their wares rests on the moment of speculation that arises before a particularly interesting piece. As individuals drift mindfully through sceneries and portraits, one may try to absorb what the artists are saying; what the paintings reply. The silence allows for the images to say more than either may have ever intended. It is, in a way, the most notable feature of many museums next to the artwork themselves. It is a quality that is so intrinsic to art museums that one may carry with them the silent air, as a vesper cloud of the gallery when they depart from an afternoon of musing appreciatively over artwork indoors to find themselves among the outdoor galleries of architecture and graffiti.
Beyond the Walls
Now, the greatest part of any artistic expression arrives to the foreground with unlimited horizons. As creativity is not often ever easily confined by any means or measures, boundaries provide artists with the challenge of reaching beyond standards to raise realms of the abnormal and even the strange. Even the artist who deals with the ordinary will often do so with the intention of testing the very boundary that it represents. The conception of modern street art and its canvas of architecture does this in such a way that few other artists could achieve through alternative media. At the very best of examples, something ordinary and ultimately unnoticeable is transformed into something that could halt the busy bustling of common passersby for at least a moment of real awareness.
Constant sensibilities of artistic reverence find their way beyond what is constructed around them for those who seek where museums go. Mere collections of human expression do not match the entirety of creation, and some of the most worthwhile exhibits are adorned without red ropes and crafted without tools. The living world of snow-capped mountains and of forest glades is a museum to be found unto itself, unset by canvas or clay, and is always open for the public to enjoy.