In what ways have artists moved outside of the gallery space to make and/or exhibit their work?
The term ‘Gallery’ describes a place where artists can exhibit and display their work. However, the type of gallery can be described as either public or private. Public galleries are generally publicly owned and free to visit, whereas private galleries usually sell work and often require an arranged viewing or entrance fee. Over the course of this essay, I will address the ideas and explanations behind artist’s moving outside of the gallery space to make/ exhibit their work. There are many reasons why an artist may choose to make this kind of move, for example a piece of their work may have strong relations with the outdoor environment
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However, when exhibiting elsewhere, the artist can embrace the freedom of the outdoor space to create large pieces. As an example, Chinese artist Ai Weiwei constructed a sizeable installation of interconnecting bicycle frames, located inside the courtyard of Palazzo Franchetti, during the Venice Architecture Biennale in 2014. The use of scale is something which can be fully appreciated when work is placed outside in the open space in comparison to the compact feeling it may inhibit inside a gallery …show more content…
Inside the Gallery, artwork is protected by high security, either in the form of guards themselves or sensitive alarm systems, both put in place to prevent work being damaged or stolen.
When you altar the form of exhibiting the work and instead put it elsewhere, the work becomes more vulnerable. In Peter Stuyvesant’s 1972 ‘City Sculpture Project’, 16 individual sculptures were produced and placed at various sites then left for 6 months, the idea was that the locals would adjust and accept the new objects before they were acquired by authorities. However, at some of the sites the sculptures were rejected, “in the event only one or two were acquired and the rest refused. Some were very badly vandalised” (Büchler, P. and Harding, D, 1997). It is unfortunate that incidents like this occur, as restoring work is costly and in order to prevent destruction of the work happening again, art sometimes is shielded- which detracts from the idea of the artists original sense of freedom they had when producing their
Often art is lost or destroyed through out the many dangers of time. Art is sometimes used to convey thoughts or ideas of a time or people. If works are lost or destroyed we may lose important information from this time or the people who created the art. This matter is shown best in the movie titled The Rape of Europa.
In the case of Steinkamp vs Hoffman, a collector in New York, Roderick Steinkamp sued Hoffman gallery for missing paperwork related to a Sol LeWitt drawing, Wall Drawing #448, on May 22,2012. The Suit, which seeks $350,000, claims that without the certificate of authenticity, the artwork is unsalable and thereby worthless (Cohen). Steinkamp owned Wall Drawing #448 via signed contract with the gallery in which the gallery agreed to be liable for all “loss, damage or deterioration” (Cohen). However, when the gallery claimed that they lost the certificate, their insurance company refused to pay for the document’s “mysterious disappearance,” which consequently lead to the lawsuit.
DeWitte, Debra J. et al. Gateways To Art. New York City, NY: Thames & Hudson, 2012. Print.
In Steven Connor’s ‘Ears Have Walls: On Hearing Art’ (2005) Connor presents us with the idea that sound art has either gone outside or has the capacity to bring the outside inside. Sound work makes us aware of the continuing emphasis upon division and partition that continues to exist even in the most radically revisable or polymorphous gallery space, because sound spreads and leaks, like odour. Unlike music, Sound Art usually does not require silence for its proper presentation. Containers of silence called music rooms resonate with the aesthetics and affects on the body of a gallery space; white walls, floorboards to create optimum acoustics, and an ethereal sense of time and space. When presented in a gallery space, sound art’s well-known expansiveness and leakiness can be more highly articulated.
Imagine you can own one of the famous painting in the world. Which one would it be? What will you do with it? If I got to own a famous painting, I would hang it in my bedroom and I’ll show it to my family. In this situation, If needed to narrow it down it will be The Persistence of Memory by Salvador Dali or Nighthawks by Edward Hopper. These paintings are extremely different, and their artistic movement is opposite from one another. By the end of this essay, you’re going to know the differences and similarities of these paintings.
Georges Didi-Huberman is critical of the conventional approaches towards the study of art history. Didi-Huberman takes the view that art history is grounded in the primacy of knowledge, particularly in the vein of Kant, or what he calls a ‘spontaneous philosophy’. While art historians claim to be looking at images across the sweep of time, what they actually do might be described as a sort of forensics process, one in which they analyze, decode and deconstruct works of art in attempt to better understand the artist and purpose or expression. This paper will examine Didi-Huberman’s key claims in his book Confronting Images and apply his methodology to a still life painting by Juan Sánchez Cotán.
Essay 1 For my formal art analysis essay, I decided to go to the Salvador Dali museum located in St. Petersburg, Florida. The museum contained so many bizarre, yet captivating pieces, that I had to circle around a few times to find the right one. In the end, I was most drawn to the painting titled, “Profanation of the Host”.
While attending Hailsham the students try vigorously to strive for their best art in order to have their artwork selected for “the gallery,” which is a wide-ranging collection of their best works that is shown to the outside world. In response this changes the students view of their o...
Benjamin argues that reproduction devalues art because it no longer has an aura. The aura of an art piece ties it to a specific location and time. He believes that only the original hold a history that cannot be reproduced: “In even the most perfect reproduction, one thing is lacking: the here and now of the work of art-its unique existence in a particular place. It is this unique existence-and nothing else-that bears the ... ...
Art theft is a crime that has been on the rise for the last half of this century. “According to law enforcement officials, art theft now ranks second only to drugs as the world’s most lucrative illegal activity.” (Journal of Commerce) Whether bought, created, or stolen, art has become something that is of great demand. “Art theft has flourished as never before. Just keeping up with the number of stolen objects and their total value is a big-time guessing game.” (Dudar) This is a problem that not only faces us as art owners and collectors, but museums and auction houses as well. Everyone possessing a piece of artwork is at risk of art theft. This artwork doesn’t have to be anything out of the ordinary to be a target. Along with famous paintings, sculptures, and other types of artwork, many insignificant or unrecognized pieces of artwork are being stolen too. “Most thefts appear to be the work of thieves without serious art education. Along with the good stuff, they are apt to sweep up junk – those sappy gift-shop paintings of kids with enormous eyes, for example, which no serious collector would covet.” (Lowenthal) On the other hand some of these thefts are being done by some of the best in the business. “Some thieves have turned out to be professionals who, following fashion, switched from robbing video stores to burgling art. Some are actually specialists in vehicle t...
The subject of art conservation and restoration has long been debated in the art world. Experts and historians have never agreed that all art must be salvaged at any cost. This paper will examine what art conservation and restoration is, what is involved in these endeavors, and what has been done over the centuries to many of history’s cherished art pieces.
Modern art runs a very important role in man’s life throughout history, because it that does not only give us inspiration but also the freedom to express ourselves through the use of different mediums.
The. Theories of Contemporary Art. Englewood Cliffs: Prentice-Hall, 1985. Kotz, Mary Lynn. Rauschenberg/Art and Life. New York:
...d landscape materials in the galleries. Some of the large land art works can only be accurately enjoyed from some height by a plane or so. According to opponents, an art work should be open for every class of society. As viewing a large land art piece from the air is beyond the reach of poor person. But photographs are the best option to represent the huge and unreachable land artworks.
There are so many forms and techniques to street art. Like whereas traditional graffiti artists have primarily used spray paint to produce their work, "street art" encompasses many other media, such as LED art, mosaic tiling, murals, stencil art, sticker art, "Lock On" sculptures, street installations, wheatpasting, woodblocking, yarn bombing, and rock balancing. New media forms such as projection onto large city buildings are an increasingly popular tool for street artists—and the availability of cheap hardware and software allows street artists to become more competitive with corporate advertisements. Much like open source software, artists are able to create art for the public realm from their personal computers, similarly creating things for free which compete with companies making things for profit. Some observers use the term "independent public art" to describe a type of street art, which can also include work in remote places that may not be visited by an audience, and may also be short-lived. An ephemeral instance of colored smoke in the forest, or a precarious rock balance are examples. Some work has been installed