Sample Art Paper on Museum of Islam Art/ Choosing Objects & Creating an Exhibition

Museum of Islam Art/ Choosing Objects & Creating an Exhibition

Shades Exhibition



Discussion: Museums in Qatar, Creating Narratives at a time of Global Unease

The article, Museums in Qatar: Creating Narratives at a time of Global Unease, discusses the beginning of political influence in the world or art and pottery in Qatar. It showcases the reasons for the emergence of the Qatar Museum Authority (QMA) and the organization’s role in the narrative of politicians and curators.  From the article, we learn the various role of Museum in Qatar. These include;

  • To provide a desirable identity for the nation and the people.
  • To create a public space that, technically, will be owned and operated by the community. The people, not the government, own artifacts.
  • Used as an instrumental tool for economic, social, educational, and political advancements.

The article will be of great help when it comes to creating the exhibition. This is because, by reading the article, we learned that to build a successful exhibition narrative, you must be aware of and recognize the hybridity and tension in oneself and one that we bring to the public; one must possess a constant cordial relationship with objects and the messages that are imposed on these objects to understand and feel what the artifact has to offer. One must read between the lines when creating an exhibition. Also, one must carefully understand the policies of politics and the government at both the national and local level. This is to mean that the relationship between the government, the local people and the nationals is what determines the functions of the museum.

Since the museum is a narrative site that primarily relies on visitors, one should create an exhibition that attracts a large number of visitors to make the exhibit count. To add on that, while organizing an exhibition, as a curator, you must use aspects such as metonymy and metaphor to describe the objects or label them. The former applies when two objects from the same environment stand for each other while the latter applies when two things stand for one another because they have something in common. In creating exhibitions panels, labels, and texts are used to sway the narrative of the object and the audience reading it. Also, from the article, we learned that when creating an exhibition one needs to use objects across countries. This creates cultural dialogue among the people. In the case of our exhibition, we used objects in the Museum of Islam Art that originated from Syria, Egypt, Iran, the Arabian Peninsula, Turkey, and Spain. This encourages cultural dialogue between Doha (where MIA is located), and the states where the artifacts came from.

Lastly, from the reading, we learned that to create an outstanding exhibition, we have to engage with the objects directly. In the long run, the audience will also engage with the artifacts and appreciate the skills that were used to produce it.  Our exhibition will include all the aspects mentioned above excluding the influence from the government. we will leave at the hands of the general public to own and control the exhibition. To showcase the prowess of our works, we willl attach eight of the high-quality photos of the work. The images will be taken with high-vision camera and edited to acquire a true-to-life contrast.




Curative Exhibition from museum of Islamic Art

NAME: The Cavour Vase

Country: Syria or Egypt

Artist: Camillo Benso

Material: The Cavour Vase is primarily made of gilded glass.

Dimensions: 600mm x 400mm

NAME: The oldest Islamic Astrolabe

Country: Iran

Material: Made from melted metal ware

Dimension: 420mm x 400mm

NAME: The Doha Hind

Country: Cordoba, Spain

Material: Made from metal ware

Dimension: 750mm x 800mm

NAME: The Enameled Glass Bucket

Country: Syria or Egypt

Material: The Enameled Glass Bucket if made from pure glass ware

600mm x 520mm

NAME: The Iranian Figurative Designs

Country: Iran

Material: Made from textile material

Dimension: 600mm x 520mm

NAME: A Key for the Ka’aba

Country: Arabian Peninsula

Material: Metal work

Dimension: 520mm x 480mm

NAME: The Lusterware Apothecary Jar

Country: Mamluk, Syria

Material: Made from ceramics

Dimensions: 520mm x 480mm


NAME: The Ottoman Damascus Ware Dish

Country: Iznik, Turkey

Material: Made from ceramics

Dimension: 450m x 450m




Proposal to the MIA for Exhibition

To come up with a fascinating curatorial idea for the exhibition of MIA, we came together as a group of three able members and planned our thoughts together. The exhibition addresses the artifacts from the Museum of Islamic Arts and their relationship with mythical history. The first idea was to shortlist the artists that we would be using their works to come up with an exhibition. Since we were the curators, we will use visions and texts to create the main actors of the core ideas of our narrative. The narrative, in this case, will be the exhibition idea. After whitelisting the recommended artist, we will reach all or most of them and make contact. That will be to ask the artist whether it will be possible to visit their studio and talk about the different arts that we will be using to make the exhibition. For those artists who are not local, FaceTime or Skype will be our next alternative. The main curatorial idea for the exhibition will be to collect items from the Museum and create an exhibition model with them. An approximate of eight items will be obtained, and if we are in lack, we will use at least two borrowed pieces of art. The exhibition will be on the first/ground floor for easy accessibility by all kind people. The room will be near the entrance to capture the attention of the visitors while their minds are still fresh. Having the exhibition at the entrance will make sure that every visitor of the museum will see the exhibitions.

The museum exhibition we will be creating entails both myths and the reality to capture the attention of the visitors who are interested in the past — the history of artefacts, religious beliefs of different communities towards the different forms of architecture, human behaviors, the nature of animals, mythical materials that are perceived to contain dark matter, and the general world we live in. According to research, people’s fear, imaginations, hopes, and passionate dreams are used to create the most luxurious and astonishing mythical creatures. How else would you explain the existence of creatures with seven heads in our museums? Our museum exhibit will use a method of comparison, relating both mythical creatures, animals, and structures.

The different items that we will collect will be essential in determining the narrative of the Museum of Islamic Art. It is common knowledge that items kept in the museum have deep meaning to the people who visit the museum or those who live around the area. An example is the Key of the Ka’aba that is now in the MIA. The key has a deeper meaning to the people than what we know. For instance, it was believed that the key opens the gates of the Ka’aba. This was both metaphorical and physical. The exhibition will expand the implicit narrative of the MIA in that when people come to view the artifacts they will be able to use mixed objects to explain the relationship between Islam and other world cultures. Throughout the time of our exhibition, we will be openly detailing information on the mythical and real artifacts that will be found in our exhibition museum. This will include their general information, how old they are, where are commonly found and their country of origin, the respective artist, the material they are made of, and their physical characteristics. This information will give visitors of all age, race, and nationality a crystal clear understanding of the powerful, bizarre, old, and mystical artifacts. Artifacts symbolize the rich ancient cultures of the people. These artifacts will have a value and a meaning in the community and will be highly guided by security cameras and entrance guards.

The room we prefer will have big windows to allow enough light to enter and will be situated at the ground floor near the entrance to the museum for ease of access to all kinds of people; even people with disabilities. It is believed that natural light is the best light to examine an ornament. The windows will be grilled and burglary-proof with curtains for maximum security and exquisite interior appearance. There will be a receptionist at the entrance to monitor and register visitors coming and out of the museum at any given time. Also, to boost the security, the artifacts will be fitted with motion sensors in case they are moved and will be mounted at the walls at a high position (1.5m high from the ground) or engulfed in a glass casing for appearance and security. The visitors will leave their identification documents at the registration desk. Children and under-age visitors shall be accompanied with guardians, parents or both. The exhibition will occupy a room with 26m long by 11m wide as the dimensions of the exterior walls. The objects that will showcased, as mentioned earlier, are the Key for the Ka’aba, Lustreware, the Ottoman Damascus Ware Dish, the Cavour Vase, the Islamic Astrolabe, the Doha, Enameled Glass Bucket, and the Iranian Figurative design; all of which will be distributed evenly across the room leaving enough space for display. From the model created, their will be enough space at the center to allow for movement around the room and two artifacts situated at the right and left centers.

The educational activities that the group will propose to the local public will include a few minutes to introduce them to the museum and explain to them what the museum has to offer concerning their education. For children who will visit the exhibition, they would be involved in counting games and spelling games. The children would spell and pronounce different terms that relate to the museum exhibition and artifacts. Guardians and teachers would be required to make their students participate in after-session question-answer forum where they would be learning about the history of the different types of arts, the respective artists, and how they came to be so crucial to the general public. Adults will participate in history quizzes that will see to it that they know and understand the origin of the objects. There are some mythical museums out there. For example, the Museum of Science in Boston showcased an exhibition in 2008 entitled “Mythic Creatures Galour.” The Exhibition constituted ancient cultures, mythical animals, and folklore from around the world. The major difference between the fictitious exhibition and the one we will be creating is that our exhibition other than giving the visitors a clear understanding of creatures in the mystical world will also compare the artifacts to both mythical and modern-day real animals and ornaments. An example is the Doha. An image of an object made in the shape of a female deer and designed to pass water from the base through the body and exit from the mouth. Our exhibition will bring mythical creatures to life through stories, works of art showcased in literary works, and movies and leave the visitors with the urge to return. Also, the majority of us have had an interest in museum exhibition from a tender age; we have gained quite an experience from the frequent visits to the museums during weekends and holidays when we do not have a lot assignments. This will give us the chance to pass the little knowledge we gained from the numerous exhibition visits to visitors and the local public. Lastly, the profit that we will accumulate on that day will be used to run humanity campaigns such as the Qatar Charity Campaign. Also, Qatari influencers will be brought in to oversee the exhibition process. This will be better of giving back to the society for their trust in the exhibition. The community will also benefit since the exhibition will provoke thoughts and conversation on the different artifacts during the exhibition. Generally, the exhibition will be vital to the growth of the community since it will bring people of different diversities together to input new ideas.

We will use online platforms such as Facebook, Twitter, visual channels such as Instagram and Pinterest and other media sites to create awareness about the exhibition and when it would take place. The digital era, many people would be available in some or all the social sites. Facebook, for instance, has  over 1.79 billion active users and 39% of the number are online at one given time[1]. Hence, we will upload the pictures of the objects that will be in the exhibition and a summary. This images will include a link that will takke the customers direct to the exhibition website. This will be able to give the public something to look out for. We would make it a priority to post different pictures at intervals of a aday or two to make the intented client eager to see the real artifacts. To boost visibility, each of our team members will be posting the pictures and images on the personal pages and walls. The online platform is the trending method of conveying a message; hence it would be the perfect place for people to check the direction to the exhibition site, the time, and the hosts present. To target the young generation, we would post on Instagram three times and week and on Pinterest when targeting the older generation and/or female.  Also, to make it appealing and breath-taking, we will create a YouTube advert with a catchy video of a portion of what will be happening at the museum. This will increase the chances of potential clients and customers clinking on the links to our website, which will contain the rest of the information regading Shades Exhibition. For proffessionals, B2B marketing, and investors, we would target the LinkedIn users. We would create classic profiles and each member will be required to post content links on their profiles and publish long-forms posts on their publishing page to cover more ground. We also will use our social media channels as hubs for sparking debates that will let like-minded people to interact about their favourite interests. This will help in winning over loyal customers to start with. Lastly, advertising discounts and complementary services for the first few visitors will be a great way to get customers early enough on the day of the exhibition.

We are looking forward to getting a positive response from you. We believe that working together is the first step in restoring the community to its feet. Also, we have willing investors at our disposal who have been working round the clock to ensure that the exhibit will be a success. Kindly give us this opportunity to showcase the exhibit in your museum, and you will benefit significantly regarding loyal clients, profits, and as an exemplary figure in the society. Thank you in advance.


Lord, Barry, and Gail Dexter Lord. 2001. The manual of museum exhibitions. Walnut Creek, CA: AltaMira Press.

McKenna-Cress, Polly, and Janet Kamien. 2013. Creating exhibitions: collaboration in the planning, development, and design of innovative experiences.

Taylor, Gabriela. 2013. Advertising in a digital age best practices & tips for paid search and social media advertising. [s.l.]: Global & Digital.

Watson, Oliver, Philip Jodidio, Kathryn Kalemkerian, and Jules McDevitt. 2008. Museum of Islamic Art: Doha, Qatar.


[1] Taylor, Gabriela. 2013. Advertising in a digital age best practices & tips for paid search and social media advertising. [s.l.]: Global & Digital.