The Written Component Of This Course Involves The Curation

The written component of this course involves the curation of an exhib

The written component of this course involves the curation of an exhibition of works on display at the Metropolitan Museum of Art. The assignment will be completed in two stages and the entire project is worth 25% of your final grade. The overall goal of the project is to carefully choose and analyze three (3) works of art and to illustrate how together they would make an insightful, relevant, and interesting exhibition.

Evaluation: Each part of the assignment will be graded separately. The proposal (5%) must be approved before you can start working on the paper (20%). Late assignments will be marked down one full grade for each day that they are late. Both parts of this assignment must be completed to pass the course; failure to submit either component will result in a failing grade. Organization, syntax, grammar, and punctuation will affect your grade, so allocate adequate time for proofing and revision, and consider consulting the Writing Tutor for assistance. Also, allow ample time for computer or printer issues before the due date.

Paper Proposal (due in class March 23rd): This should be a 250-word proposal for an exhibition of three works that you wish to curate at the Metropolitan Museum of Art. Objects can be selected from any of the areas covered in class (e.g., Ancient Near East, Egypt, Greece, Rome, Medieval, Islamic, etc.). They may be from a single geographical area, time period, or related by function, style, or media. You must choose carefully and argue clearly why your three works would make an interesting and insightful exhibition. Besides the textbook, no outside research is needed for this part. Include the accession number and title of your chosen works at the top of your submission (these do not count toward the word count). Additionally, attach a photograph or snapshot of each object.

To complete this part, you must visit the Metropolitan Museum of Art in person, collect your admission receipt, and staple it to your proposal. Virtual viewing or source materials from books or online are not acceptable substitutes. The museum is located at 1000 Fifth Avenue (at 81st and 82nd Streets), with hours: Sunday–Thursday 10:00 a.m. – 5:30 p.m., Friday–Saturday 10:00 a.m. – 9:00 p.m. The suggested admission fee is flexible; pay what you can afford, and do not forget to keep your receipt for your proposal.

Paper For Above instruction

Following approval of your proposal, you will develop a comprehensive final paper approximately 6-9 pages long, focusing on the three selected Islamic artworks housed at the Metropolitan Museum of Art. Your analysis should demonstrate close observation, critical evaluation, and contextual understanding, particularly exploring how the theme of paradise is reflected across these works—whether through textual references, iconography, architectural elements, or artistic styles.

The final paper must include detailed descriptions and analysis of each work, including formal and technical aspects. You should address the subject matter, materials, dimensions, figures, composition, style, and preservation status. Emphasize how these formal elements contribute to the themes of paradise and divine beauty as expressed in Islamic art, architecture, and texts, considering how these artworks would function in an exhibition setting aimed at exploring paradise from an Islamic cultural perspective.

Incorporating outside scholarly sources is optional but encouraged to enrich your discussion. Should you decide to include external references, ensure proper citation using either MLA, Chicago, or APA style, and include a bibliography at the end of your paper. Use credible academic sources like peer-reviewed journals, scholarly books, and museum publications—websites like Wikipedia are not acceptable scholarly references.

Your object analyses should describe each artwork in detail, considering formal elements like shape, volume, iconography, and technique. Attention should be paid to how these formal features communicate meanings associated with paradise—such as themes of divine harmony, spiritual transcendence, and paradise landscapes—drawing connections between the visual and textual representations of paradise within Islamic culture and art.

Reflect on how each piece's style, iconography, and context embody or evoke the Islamic conception of paradise. For example, architectural plans of mosques, Iranian miniature paintings, glazed ceramics, or calligraphic panels may depict scenes or symbols related to paradise. Describe how the artworks’ materials and craftsmanship reinforce their spiritual symbolism, and analyze how formal qualities serve to evoke divine perfection, serenity, and otherworldliness.

This project emphasizes clear organization, vivid description, critical insight, and thoughtful curation. Your final submission should convincingly demonstrate how these three artworks, when assembled in an exhibition with a unifying theme of paradise, would engage viewers intellectually and aesthetically. The paper should avoid personal anecdotes and instead focus on scholarly analysis, ensuring a professional academic tone throughout.

Assessment will be based on the thoroughness of descriptions, depth of analysis, relevance and coherence of the thematic grouping, clarity of writing, proper citation, and adherence to academic conventions. Proper proofreading is essential to eliminate grammatical and typographical errors.

References should include credible scholarly publications or museum catalog entries, cited correctly, and formatted consistently. Examples of good sources are peer-reviewed journal articles, scholarly books on Islamic art, exhibition catalogues, and authoritative online museum databases. Use the NYU Libraries Citation Style Guide for guidance.

In conclusion, your final paper will vividly analyze three Islamic artworks related to the theme of paradise, demonstrating how visual and material aspects communicate complex religious and cultural ideas, contributing to a cohesive and compelling exhibition concept. Engage deeply with the formal qualities, iconography, and contextual significance, aiming to produce a nuanced and insightful scholarly discussion suitable for an academic audience.

References

• Bloom, J. (1989). The Art of the Islamic World. Yale University Press.
• Bloom, J., & Blair, S. (2009). The Art and Architecture of Islam 1250-1900. Yale University Press.
• Grabar, O. (1987). The Formation of Islamic Art. Yale University Press.
• Krämer, G. (2003). Islamic Art. Harvard University Press.
• King, D. (2003). Islamic Painting. Harvard University Press.
• Sell, S. (2010). Islamic Calligraphy. Thames & Hudson.
• Raby, J. (1992). The Art of the Book in the Islamic World. Thames & Hudson.
• Hill, S. (1994). Masterpieces of Islamic Art. The Metropolitan Museum of Art Bulletin.
• Sulton, K. (2007). Architeture and the Reflecting of Paradise in Islamic Gardens. Journal of Islamic Studies.
• Yedgar, H. (2012). Visual Narratives of Paradise in Persian Miniatures. International Journal of Islamic Art.