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Sourced with only the most native Mali plants of course!

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An example, where each spot of bright light is an LED light.

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It is thought that the horizontal bars on the mask are to represent two realms. The upper - the cosmic realm, and the lower - the earthly realm. Bringing this idea into the exhibit would be an incredible experience.

If the mask were hung on the wall, the 'cosmic' realm could begin exactly where the upper crossbar is located. Across the entire hall, from that height upward, the walls could be painted black, with lights installed that would flicker like the night sky. It could even have different lights illuminate to represent the passing constellations and galaxies as the time of year changed.

From the lower cross bow and below, the earthly realm would be represented. Along the sides of the gallery, sand pathways and indigenous desert plants could line the walls, both representing the earthly realm, and ensuring that no one gets too close to the artworks. This would create something of a desert conservatory.

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The audio that accompanies this video would be an authentic way to connect the viewers with the true sounds of the culture. Gateways to Art notes that masks are often an empty and lifeless object when removed from everything that makes it come to life. Playing this music in the gallery would not only give the viewer the sounds of Mali, but it would truly make a simple mask come to life in ways that silence cannot. In a culture so imbued with song and dance, the mask is, in a way, inseparable from its purpose. Reuniting the sounds of the traditional dances with the mask on display is a match that was made to be.

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Africa is a large continent and it can become easy to assume that all the cultures within it are the same. However, each culture and region brings new languages, rituals, food, art, and tradition. Having a large and interactive map of Mali would be a beneficial asset for this gallery.

The map of Mali serves to place the viewer in the location where this beautiful mask heralds from.

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Made in the early 20th century, this mask from the Dogon people is composed of wood, leather cords, and hide. At about 45" high, it would make any wearer seems extremely intimidating.

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Gateways to Art brings up an interesting point during their discourse on Plains Indian art. They note that the battle which inspired the robe was due to the encroaching Sioux on the territory of the Mandan tribe. This forceful clashing was due to the westward expansion of Europeans into North America. They displaced and expelled Native Americans from their homelands, creating nomadic tribes out of a people group which had previously established permanent villages.

It would be disrespectful to display these artifacts (battle robes, tipis, and arrows) without remembering the cost of what they were created for. Taking responsibility for the decisions and actions of the Europeans is represented through providing accurate historical context. The hide should have a description of the forceful exile that the Sioux Indians faced. Instead of having the story written from the perspective of the conquerors, it would be remarkable to collect accounts of Manifest Destiny from the natives' perspective.

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From the Lakota tribe of the Northern Plains

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The battle presented on this particular hide is quite detailed. Instead of approaching the painting with a focal point in mind, the artist paints each encounter with equality. The eye does not know where to look when it is given this work.

One thing that Gateways to Art specifically notes is the weaponry used. Among them are spears, tomahawks, bows and arrows, and even guns.

A display that showcases the weapons of these tribes would provide the viewer with a deeper understanding of what war looked like. Wars look drastically different depending on what the opposition is armed with. For instance, the use of guns provides a long-range shot without risking hand-to-hand combat.

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While many ancient american pieces of "art" were solely functional, such as clay pots and tools, this tanned hide serves a dual purpose.
In addition to creating a garment of honor and admiration, the Native Americans of the great plains would have skinned buffalo for their shelter as well.
Tipis, or teepees, were made out of stretched buffalo hide. Even the hides used for the tipis would often be decorated.
In order to show the other use for the buffalo hide medium, having reconstructed physical tipis throughout the American Art exhibit would reveal one "utilitarian" aspect of daily life as a Mandan tribe member.

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Tanned Buffalo Hide Robe with Battle Scene

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Tanned Buffalo Hide Robe with Battle Scene

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c. 1797-1800
Mandan Native Americans tanned this buffalo hide and used dyed porcupine quills alongside natural pigments to create this scene.
This hide depicts a battle between the Mandan and Sioux tribes of the Plains Indians. Additionally, it would have been worn as a robe by a successful and prominent person in the war.

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The context of this painting is largely based off of the Daoist themes of growth and spirituality.

Thus, a short (less than 5 minute) documentary near the main art piece could detail some aspects of Daoism, including the recurring themes of challenge, maturation, and journeying through life.

It would talk about Daoist influence on the Chinese arts, especially as it relates to painting and poetry. This documentary would constantly be running on a loop as people stop to watch.

When we know the common values and beliefs that govern an artists' rendition of a subject, we are able to appreciate it further and receive a deeper meaning from the piece.

A video wall, such as the example to the left, would be a beautiful way to immerse the viewers in the story, and not have crowding around a small screen. Additionally, examples of Daoist-inspired works could actually be shown on the screen as the audio continues.

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The characteristic red seals in the bottom left corner of this scroll are actually a way of identifying the author or admirer of the work.

Creating one's own individual stamp would be a unique way to involve viewers with the genre of art they are seeing. Materials such as rubber and the proper carving tools would be supplied. Additionally, an expert in Chinese characters would lead the lesson and assist people with writing and carving their name in Chinese characters.

This seal would serve as a wonderful souvenir and memento of the Chinese scrolls.

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Considering that the artist did not intend for the piece to be viewed from one perspective, it would be amazing to have the image blown up and hung on a multi-story wall. Then, a staircase in front of the wall would allow viewers to ascend alongside Ge Zhichuan; It would have a wide entry landing, and would continue to wind in natures' path, until they, too, reach the village and a final, uppermost landing in the top left.

This scroll is absolutely beautiful to me, and knowing how the artist intended for it to be seen is a crucial part of displaying it honorably.
The idea of a staircase came to me when I read that the artists' intention are for people to have a "slow, contemplative journey." Each portion of the scroll could be mulled over and seen in an unhurried fashion.

For a rough sketch of what this could look like, follow this link:
https://drive.google.com/file/d/12lZvT-x7TeiVWou-0v6KBEZB8lflbetO/view?usp=sharing

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This hanging scroll painting was made by Wang Meng, circa 1360.
The ink and color painting reaches nearly 6 feet high and 2 feet wide (54.75 x 22.875).

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Standard of Ur

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The layout of one such tomb in the Royal Cemetery, which depicts the location of the chest where the body would be, along with the various other objects of importance, and skeletons or servants and soldiers.
This image could be used as the top-down view of what the walk-through could be.

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Over the years, many archaeologists, historians, and anthropologists have researched these historic graves in the Royal Cemetery.
Through excavations and cultural expertise, the tombs of Sumerian royalty can be approximately re-created to represent what the inside of these chambers would look like.

Gateways to Art tells us of the many objects, people, and treasures that were buried within the graves of royalty. The purpose was to both to impart honor on the deceased, and give them access to the buried articles and persons in the afterlife.The burial rituals of the Sumerians were influenced and informed by their polytheistic, supernatural beliefs.

These traditions of the dead are rather foreign to the 21st century audience. A holographic or 4D walk-through of these tombs would make the many chariots, soldiers, and precious items larger-than-life. Since the Bull Lyre is one of these buried objects, it represents how significant of an instrument it must have been to the deceased and those around them.

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Lapis Lazuli

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Lapis Lazuli

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Lapis Lazuli

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The Gateways to Art text reveals that this lyre was particularly ornate, due to the fact that it was in the King's Grave. Beautiful and valuable natural elements are incorporated into the piece. However, even the best restoration of this stringed lyre leaves it somewhat in disrepair. The elements that make this lyre unique should be displayed and tangibly available to ogle over.

Lapis Lazuli, a "bright-blue semiprecious stone," is a central accent of this lyre, in addition to many other objects that were commonly found in the burial sites of royalty. A display of lapis lazuli in different forms would be a beautiful tribute to the work of Sumerian artisans.

First in this display would be a rough, uncut, and unpolished lapis lazuli stone, such as in the first image to the right. It would be encased in glass. Following, a basin of cut and polished lapis lazuli would be available for children and adults alike to touch and feel in their hands. Lastly, a plethora of lapis lazuli objects that have been sourced from this region and era would grace the shelves of an entire wall display to show the diversity of its use. Included in this collection would be the Standard of Ur, another artifact discovered in the Royal Cemetery.

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Merely looking at an instrument does little to evoke the true nature of its sound. This video demonstrates an improvisation of how the lyre may have sounded or have been played during the Sumerian civilization.

Starting at 0:22, this music would be a way of connecting the guests at the gallery with the sounds of Sumer. Although we may never know the exact rhythmic intonations, chords, or melodies that were popular during the time period it was made, music sets an atmosphere. Playing the music of the lyre throughout the sound system of the Sumerian exhibit will cause patrons to be involved audibly with the object they are seeing.

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The Sumerian Bull Lyre is an example of one of the many treasures uncovered at the Royal Cemetery in Ur, a prominent city within the Sumerian civilization.

It is thought to have been created between the years 2550-2450 B.C.E. and is a beautiful medley of wood inlaid with gold, silver, lapis lazuli, and shell.

The Sumerian Bull Lyre is the central piece of this exhibit's Ancient Mediterranean gallery.