The White Cube: Institutions, Validation and Elitism
Richard Dawkins (2006), in The Root of All Evil. Channel 4
Secular spaces?




              National Gallery of Scotland (2000-9)
              Opened in 1859.
White Cube




  Museum of Modern Art Building [centre] (2004).
  Designed by Philip L. Goodwin and Edward D. Stone in 193...
“The Museum interior was turned into
antiseptic, laboratory-like spaces –
enclosed, isolated, artificially illuminated
and...
Eye and Spectator




                    (1999 [1973])
Eye and Spectator
Tate Liverpool (2006)




                        Iowa Museum of Art (2006)
Interior of the National Gallery of
Scotland, c.1867-77, Anonymous
“Clearly, the more „aesthetic‟ the installations - the
fewer objects and the emptier the surrounding walls –
the more sacr...
Pierre Bourdieu




         (1979)
Habitus (Socialised Subjectivity)

                Education




      Class     Disposition   Place




                E...
Field
M M
o o
M d
a e
  r   Alfred Barr (1936)
a n
n i
d s
  m
Capital
 Cultural Capital
 Economic Capital
 Social Capital




                     Brian Sewell
Elitism
“The popular aesthetic (of the working class) is based on an
aesthetic „in itself‟ rather than „for itself‟. It al...
Robert Rauschenberg (1964) Axle
Daniel Buren. Left: New York, John Weber Gallery (1972) and Right:
Dusseldorf (1972) Konrad Fischer Gallery
Shapoloski et al. Manhattan Real Estate
              Holdings, a Real-Time Social System, as
Hans Haacke   of May 1, 1971...
Postmodern Spaces

Musée d‟Orsay. Opened as an art gallery in
1981. (Main structure completed in 1900)
Postmodern Spaces




   Renzo Piano and Richard Rogers. Pompidou Centre, built in 1977.
Postmodern Spaces




Daniel Libeskind (2001) Jewish Museum [Denmark and Berlin]
Queen Idia Mask (16th century)
      Museum of Metropolitan Art

“History has it that sometime February 1897, the then
Bri...
References
   Ajibulu, E (2009) Artefacts: British Museum should
    return Queen Idia Mask at
    moderngarna.com, http:...
White Cube, Intitutions, Validation And Elitism
White Cube, Intitutions, Validation And Elitism
White Cube, Intitutions, Validation And Elitism
Upcoming SlideShare
Loading in …5
×

White Cube, Intitutions, Validation And Elitism

1,501 views

Published on

0 Comments
2 Likes
Statistics
Notes
  • Be the first to comment

No Downloads
Views
Total views
1,501
On SlideShare
0
From Embeds
0
Number of Embeds
4
Actions
Shares
0
Downloads
32
Comments
0
Likes
2
Embeds 0
No embeds

No notes for slide

White Cube, Intitutions, Validation And Elitism

  1. 1. The White Cube: Institutions, Validation and Elitism
  2. 2. Richard Dawkins (2006), in The Root of All Evil. Channel 4
  3. 3. Secular spaces? National Gallery of Scotland (2000-9) Opened in 1859.
  4. 4. White Cube Museum of Modern Art Building [centre] (2004). Designed by Philip L. Goodwin and Edward D. Stone in 1939.
  5. 5. “The Museum interior was turned into antiseptic, laboratory-like spaces – enclosed, isolated, artificially illuminated and apparently neutral environments in which viewers could study works of art displayed as so many isolated specimens” (Wallach 1992 [1991], p. 282)
  6. 6. Eye and Spectator (1999 [1973])
  7. 7. Eye and Spectator
  8. 8. Tate Liverpool (2006) Iowa Museum of Art (2006)
  9. 9. Interior of the National Gallery of Scotland, c.1867-77, Anonymous
  10. 10. “Clearly, the more „aesthetic‟ the installations - the fewer objects and the emptier the surrounding walls – the more sacralised the Museum space [...] “... In the liminal space of the museum, everything – and sometimes anything – may become art, including fire extinguishers, thermostats, and humidity gauges, which, when isolated on a wall and looked at through the aestheticizing lens of museum space, can appear, if only for a mistaken moment, every bit at interesting as some of the intended-as-art works...” (Duncan 1998 [1995], p.484, p.485)
  11. 11. Pierre Bourdieu (1979)
  12. 12. Habitus (Socialised Subjectivity) Education Class Disposition Place Ethnicity
  13. 13. Field
  14. 14. M M o o M d a e r Alfred Barr (1936) a n n i d s m
  15. 15. Capital  Cultural Capital  Economic Capital  Social Capital Brian Sewell
  16. 16. Elitism “The popular aesthetic (of the working class) is based on an aesthetic „in itself‟ rather than „for itself‟. It allows for a naive stance; the passions, feeling and emotions that ordinary people invest in life. Pure taste, on the other hand, is the opposite: it suspends naive involvement because it provides no place for the necessities of life themselves.” (Grenfell and Hardy 2007, p.42) “...what Bourdieu is arguing is that many art critics discuss the formal properties of painting in an „ahistorical‟ manner in order to establish „the exclusive validity of an internal reading‟ – in other words, reading and deciphering the developments of artistic forms in a manner which occults the social conditions which produced them.” (p.48)
  17. 17. Robert Rauschenberg (1964) Axle
  18. 18. Daniel Buren. Left: New York, John Weber Gallery (1972) and Right: Dusseldorf (1972) Konrad Fischer Gallery
  19. 19. Shapoloski et al. Manhattan Real Estate Holdings, a Real-Time Social System, as Hans Haacke of May 1, 1971 (1971)
  20. 20. Postmodern Spaces Musée d‟Orsay. Opened as an art gallery in 1981. (Main structure completed in 1900)
  21. 21. Postmodern Spaces Renzo Piano and Richard Rogers. Pompidou Centre, built in 1977.
  22. 22. Postmodern Spaces Daniel Libeskind (2001) Jewish Museum [Denmark and Berlin]
  23. 23. Queen Idia Mask (16th century) Museum of Metropolitan Art “History has it that sometime February 1897, the then British empire out of a coercive step which it termed “Punitive measure” invaded the old Benin Empire (ancient Benin Kingdom), now located in Nigeria, and deposed Oba Ovomramwen to Calabar in the present Cross River state of Nigeria, slainning many of his traditional chiefs and killing innocents in the city. The British imperialist then raided the private cultural centre of the Kingdom by stealing and exiling more than 3000 artefacts belonging to the Kingdom.” (Ajibulu )
  24. 24. References  Ajibulu, E (2009) Artefacts: British Museum should return Queen Idia Mask at moderngarna.com, http://www.modernghana.com/ne ws/216977/1/artefacts-british-museum-should-return- queen-idia-.html [accessed 04/06/09]  Duncan, C (1998 [1995]) The Art Museum as Ritual, in Preziozi, D (ed) The Art of Art History. Oxford, Oxford University Press. Pp 473- 485.  Grenfell, M and Cheryl Hardy (2007) Art Rules: Pierre Bourdieu and the Visual Arts. Oxford, Berg.  O‟Doherty, B (1999 [1976]) Inside the White Cube: The Ideology of the Gallery Space. California, California University Press.

×