Introduction (110/600 words) The White Cube Gallery in London is known for its traditional approach to gallery space, as the name of the building implies, and is the approach most galleries around the world take for displaying work. The white walled, highly lit design is what many consider the optimum way to view art (insert quote) but since the rise of alternative exhibition spaces, the ‘white walled gallery’ has been greatly challenged by media and artists alike (insert quote). Most modern galleries offer a neutral, private, timeless place to display and experience art but also creates a natural barrier between the audience and the art. Alternative and makeshift galleries are becoming more popular. Christopher Green 142/600 Christopher Green is a young artist based in London, United Kingdom and after completing university; he and a group of artists he lived with created a gallery space inside their house and curated shows open to the public from 2006 to 2007. It is a unique venture as it is a gallery where the art is produced in the same space and it is being shown but it is not a studio space. Over 11 months they exhibited and curated approximately 55 artists’ works in 9 exhibition shows. Although most of the house was in a state of run down, the gallery area maintained a white walled, brightly lit area though some rooms of the old Georgian town house still contained white washed fireplaces that adds a certain character and human touch that is not necessarily seen in a usual gallery space. White Cubicle Gallery (221/600) The White Cubicle Gallery, located in the women’s toilets of The George and Dragon, London, and it describes itself as ‘an antidote to London’s sometimes extremely commercial art scene ‘. It... ... middle of paper ... ...ything as it should be, the right pieces of art in the right places, making sure information is correct upon publication and of course the galleries main purpose, selling art and also making available to the public for viewing, all of this now being done online as well as on site. The appeal of the online gallery vs. the real life gallery is it is almost a simpler way to display work and project to audience because you are more than projecting to a small group of people, online it is the whole world, for everyone that cannot go to The Museum of Modern Art you can see its collection online. And it is open for anyone to use, the restrictions of getting the right space and art and cost is not feasible online, anyone can start a collection for an audience to view and it is the collecting and curating of what you find into a selection is what makes it an online gallery.
· 1999: Private commissions (2). Continues to work on paintings for traveling exhibition, Visual Poems of Human Experience (The Company of Art, Chronology 1999).
The white walls of the museum came to life by the art works on and surrounding them. As soon as I walked in, I was facing Sheila Hicks, Vivace, Vivace, (2014) which lit up the room with its vibrant colors, serving as the
So I attempted to use this mentality whilst exploring the Highline, allowed the mindset to fill me with energy and then reflected on what I liked and didn’t like about the limitless attitude once I walked back towards Gansevoort Street. When I saw Kathryn Andrews’ “Sunbathers II” piece, I went inside the piece, and smiled while my cousin took a photo of me. I then continued to roamed through Chelsea while observing the people, billboards, paintings and the skyline, and was struck by the Sleepwalker sculpture. When Zadie Smith comes face-to-face with Corona’s “Find Your Beach” advertisement, she begins to analyze and find possible interpretations of the billboard sign. I then began to examine the Sleepwalker sculpture and discussed several potential inferences towards Manhattan the artwork might have with my cousin Michelle. I then got some stracciatella gelato, and Michelle got a coffee. With my recent purchases in hand, I was taken surprise by Andrews’ “Sunbathers I”. Michelle and I laughed
...g digital museums already exists, because it would allow more people to discover works of art that are much in demand, without having to queue and be surrounded by people. The progresses in digital imagery are going to get even more faultless, but one should remember that it remains a copy, and that nothing is worth being transported by the emotion and the magic of contemplating the work of art itself.
Many might have been working on Good Friday, but many others were enjoying The Frist Museum of Visual Arts. A museum visitor visited this exhibit on April 14, 2017 early in the morning. The time that was spent at the art museum was approximately two hours and a half. The first impression that one received was that this place was a place of peace and also a place to expand the viewer’s imagination to understand what artists were expressing to the viewers. The viewer was very interested in all the art that was seen ,but there is so much one can absorb. The lighting in the museum was very low and some of the lighting was by direction LED lights. The artwork was spaciously
The two artworks, Club Chair (‘Wassily’ Chair) and Un Chien Andalou showcase the identifying ideas and techniques associated with their movement, and defy the conventional mode of thought. Un Chien Andalou demonstrates the shift from living within the realm of reality to giving the imagination and sub conscious a chance to reveal the true realities. Wassily Chair rejected the excessive nature of products and created a new sophisticated style that allowed artists to become part of the community.
Baxandall, Michael. "Exhibiting intention: Some preconditions of the visual display of culturally purposeful objects." Exhibiting cultures: The poetics and politics of museum display (1991): 33-41.
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...
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.
Art is an artefact of the time or place as it is able to tell us about the people and the events that influenced the artists. These influences can be social, economic and cultural which is evident in two works of art from the period of post-WWII boom. These works are Richard Hamilton’s ‘Just what is it that makes today's homes so different, so appealing?’ and Jasper Johns’ ‘Flag’.
In this semester, we have visited three public art agencies of NYC, which are the Percent for Art Program, the MTA’s Arts for Transit program, and Creative Time. These public art organizations commission public art to the public. They integrate and apply arts to sites through process and research based on artists’ practices. Public art agencies have similar goal that is to put artworks in appropriate sites and to get response from audiences. In this paper, I will discuss the three agencies we visited vary in rules of agency and patronage practices.
The “superstar” museum gained this status by considering every important detail during its establishment and initial phases of conversion from royal palace to museum (Gombault, 2002). As the purpose of the building changed, each room addressed new functions with new requirements. Although the function of the Louvre is different from the building’s original intention, the building is still appears dignified and important enough to display priceless artifacts and painting (Steffensen-Bruce, 1998). This consideration was applied in designing the Met. The Met looked towards the South Kensington Museum (Victoria and Albert) and the “ideal role model” due to its extensive collections and international reputation (Heckscher, 1995). The Met found itself in a similar situation to the South Kensington, because it did not have a building or a collection to start with (Heckscher, 1995). When designing museums, architects strived to create monuments that “prepare and educate the mind of the visitor (Steffensen-Bruce, 1998).” Education is an essential function of a museum. Acquiring, preserving, and properly displaying materials, permits a museum to fulfill this duty (Steffensen-Bruce, 1998). For instance, lighting is a factor that affects the manner in which artwork is viewed and can be properly appreciated. When determining the proper lighting for the Louvre, Comte d’Angiviller, strongly believed that natural, overhead lighting was the most effective solution (McClellan, 1994, p. 72). The same determination impacted the decision to add skylights at the Met. During the initial phase, architects Vaux and Mould, added skylights to the upper floor, and windows to the lower floor that provided a natural light solution (Heckscher, 1995). Additionally, glass-roofed courtyards provided “unimpeded light” for displaying
...ce of the gallery, taking on a role of being an extension of the building structure, inhabiting the internal space also shared by the audience. Judd provided very specific in giving instructions on how to hang the work, with each form to be spaced 9 inches apart, and the amount of forms in the work is to be dictated by the height of the gallery ceiling, as the work must reach the ceiling.
‘Savage Beauty’ was an exhibition that pushed the boundaries of museology, in its artistic, social and critical undertakings. The questions brought to bear by the exhibition of contemporary art and culture in various situations is something I am interested in researching further with a degree in curating.
Youngs, I. (2011). Museums enjoy 10 years of freedom. Available: http://www.bbc.co.uk/news/entertainment-arts-15927593. Last accessed 4th Nov 2013.