The document discusses the concept of the "white cube" gallery space and debates its merits and limitations. It explores the origins and conventions of the white cube, which aims to present art in a neutral and isolated environment. However, some argue this fails to acknowledge how the gallery context shapes artistic meaning and value. The document examines various artistic critiques of the white cube that seek to blur boundaries between art and life or highlight the institutional influences on art.
Expressionism Modernism Sustainable Architecture Rookery Walt Disney Concert ...Dipesh Pradhan
It is a report on Contemporary Architecture, that includes brief in sight of the Expressionism, Modernism, and Sustainable Architecture along with famous architecturally important buildings The Rookery Building and Walt Disney Concert Hall.
ARTLENS Gallery: Designing Meaningful, Barrier-Free Digital ExperiencesPhillip Tiongson
The Cleveland Museum of Art (CMA)––in its latest initiative to use game-changing technology to enhance its visitors’ experience and their connection to the museum’s world-renowned collection––has reimagined its award-winning Gallery One concept with the introduction of ARTLENS Gallery, composed of:
1) ARTLENS Exhibition, where masterworks are intertwined with touchscreen-free digital interactives,
2) ARTLENS Studio, an intergenerational space where movement and art creation connects visitors to the CMA’s collection,
3) ARTLENS Wall, a 40-foot interactive wall displaying all of the CMA’s works on view, and
4) ARTLENS App, connecting to both the Exhibition interactives and the Wall, and can be used throughout the museum with responsive wayfinding. Also, the ARTLENS Beacon, a monumental screen at the entrance to ARTLENS Gallery, displays visitor-generated content including tours, collages, portraits, and poses in real time.
The centerpiece of ARTLENS Gallery is the Exhibition, an immersive, experiential space that places visitors into conversation with masterpieces, encouraging engagement with the museum’s collection. To create the cutting-edge digital interactives, the CMA partnered with Potion, a firm based in New York City, to design an experience that communicates complex concepts in simple, intuitive ways. Potion leveraged its deep experience in technology, inventing unique ways to use gesture control, gaze tracking, and emotion detection to create delightful and instructive visitor experiences exclusively for the CMA. Using barrier-free and motion-activated projections to create a personal experience with the art, ARTLENS Exhibition puts the art in the foreground. Visitors approach and engage with the art, and then use the interactive games that augment visual literacy skills and provide an experience in which they can learn more about composition, purpose, and symbols.
Join Jane and Phillip as they walk through the process of creating ARTLENS Gallery and, in particular, ARTLENS Exhibition and its awe-inspiring and fun, innovative technology.
Expressionism Modernism Sustainable Architecture Rookery Walt Disney Concert ...Dipesh Pradhan
It is a report on Contemporary Architecture, that includes brief in sight of the Expressionism, Modernism, and Sustainable Architecture along with famous architecturally important buildings The Rookery Building and Walt Disney Concert Hall.
ARTLENS Gallery: Designing Meaningful, Barrier-Free Digital ExperiencesPhillip Tiongson
The Cleveland Museum of Art (CMA)––in its latest initiative to use game-changing technology to enhance its visitors’ experience and their connection to the museum’s world-renowned collection––has reimagined its award-winning Gallery One concept with the introduction of ARTLENS Gallery, composed of:
1) ARTLENS Exhibition, where masterworks are intertwined with touchscreen-free digital interactives,
2) ARTLENS Studio, an intergenerational space where movement and art creation connects visitors to the CMA’s collection,
3) ARTLENS Wall, a 40-foot interactive wall displaying all of the CMA’s works on view, and
4) ARTLENS App, connecting to both the Exhibition interactives and the Wall, and can be used throughout the museum with responsive wayfinding. Also, the ARTLENS Beacon, a monumental screen at the entrance to ARTLENS Gallery, displays visitor-generated content including tours, collages, portraits, and poses in real time.
The centerpiece of ARTLENS Gallery is the Exhibition, an immersive, experiential space that places visitors into conversation with masterpieces, encouraging engagement with the museum’s collection. To create the cutting-edge digital interactives, the CMA partnered with Potion, a firm based in New York City, to design an experience that communicates complex concepts in simple, intuitive ways. Potion leveraged its deep experience in technology, inventing unique ways to use gesture control, gaze tracking, and emotion detection to create delightful and instructive visitor experiences exclusively for the CMA. Using barrier-free and motion-activated projections to create a personal experience with the art, ARTLENS Exhibition puts the art in the foreground. Visitors approach and engage with the art, and then use the interactive games that augment visual literacy skills and provide an experience in which they can learn more about composition, purpose, and symbols.
Join Jane and Phillip as they walk through the process of creating ARTLENS Gallery and, in particular, ARTLENS Exhibition and its awe-inspiring and fun, innovative technology.
INTODUCTION
Art Nouveau, ornamental style of art that flourished between about 1890 and 1910 throughout Europe and the United States.
The most important places for architecture during this period were Brussels, Paris and Barcelona. The name 'Art nouveau' is French for 'new art'.
It represents the beginning of modernism in design(Modern Architecture). It occurred at a time when
Mass-produced consumer goods began to fill the marketplace, and
Designers, architects, and artist began to understand that the handcrafted work of centuries past could be lost.
Flourished in major European cities and emerged in the early 1890s in all the visual arts:
1. Painting 7. jewellery
2. Sculpture 8. clothing and
3. Architecture 9. furniture
4. Interior design
5. graphic arts
6. Posters
The Participatory Museum - Long PresentationNina Simon
This is a long version of an overview presentation on visitor participation in museums and cultural institutions. First presented in Taichung, Taiwan on August 12, 2010.
INTODUCTION
Art Nouveau, ornamental style of art that flourished between about 1890 and 1910 throughout Europe and the United States.
The most important places for architecture during this period were Brussels, Paris and Barcelona. The name 'Art nouveau' is French for 'new art'.
It represents the beginning of modernism in design(Modern Architecture). It occurred at a time when
Mass-produced consumer goods began to fill the marketplace, and
Designers, architects, and artist began to understand that the handcrafted work of centuries past could be lost.
Flourished in major European cities and emerged in the early 1890s in all the visual arts:
1. Painting 7. jewellery
2. Sculpture 8. clothing and
3. Architecture 9. furniture
4. Interior design
5. graphic arts
6. Posters
The Participatory Museum - Long PresentationNina Simon
This is a long version of an overview presentation on visitor participation in museums and cultural institutions. First presented in Taichung, Taiwan on August 12, 2010.
This project was an attempt to investigate the art museum as an specific building type as well as the issues involved in the design of spaces for contemporary art. As every architectonic object, art museums are deeply connected with the functions they must fulfil and must act on the user as a stimulus which requires a behaviour response.*
According to Michel Foucault museums are sites that have the curious property of being in relation with all other sites, but in such a way as to suspend, neutralize, or invert the set of relations that they happen to designate, mirror or reflect. The museum space is capable of juxtaposing in a single space several sites that are in themselves incompatible . Its space begins to function at full capacity when men arrive at a sort of absolute break with their traditional idea of time.
Designing a new museum requires a strong concept. An art museum should never be made as a neutral, weak thing. It should be made new and passionate. The museum space should create possibilities for the unpredictable. A space that is inspired, unconventional, unafraid of taking risks, humorous, provocative and spontaneous.
The new museum shouldn’t be there to train people how to answer but how to question. That what’s the new museum is for.
* Umberto Eco, taken from ’How an Exposition Exposes Itself’ quoted in Neil Leach, Rethinking Architecture, Routledge, London 1977, p.202.
Michel Foucault, Taken from ‘Of Other Spaces: Utopias and Heterotopias’ quoted in Neil Leach, Rethinking Architecture, Routledge, London 1977, p.15.
Patrick Healy, Beauty And The Sublime, SUN Publishers, Amsterdam 2003
The power of the image: Contemporary art, gender, and the politics of perceptionDeborahJ
The relation between visual representations and the identity of the human subject.
The ideas and research that have informed this lecture are grounded in the areas of queer theory, gender studies, critical race theory, and feminist studies.
The global image. from consumer culture to the digital revolution DeborahJ
The Global Image: From Consumer Culture to the Digital Revolution is focused on the way we engage with images in the post-Internet era, when they can be shared, reproduced, altered, and distributed more easily than ever before in human history.
Beyond the visual: The Body in Contemporary ArtDeborahJ
When we think of the Body in Contemporary Art we could consider a number of different and relevant aspects. For instance, the body - the human form - is central in art, traditionally the body was often used to explore allegory, beauty and sexuality and so on. But in the twentieth century there was a significant shift in both how the body was perceived, and how it was used to create art across a range of media, from painting and sculpture to installation, photography, video art, performance and participatory art. By considering the different roles played by the body in art, we can identify that there has been a shift from being the subject, for example, in a portraiture, to becoming an active presence in live and participatory events. Alongside this there has also been a significant transformation of the role of the audience, broadly speaking, from passive viewer to active participant.
This presentation crutinises how art practitioners are navigating the artworld, which in our contemporary, late capitalist society is arguably, increasingly regulated by free market conditions, managed in the artworld by the same bureaucrats, curators, dealers and gallery owners, roles that have encroached on the career of artists themselves.
Debates around the idea that the interrelation or the interaction between artwork and viewers has been modified with the practice of Relational Aesthetics.
How Art Works: Week 5 The Rise of the ismsDeborahJ
This lecture will:
Examine how artists sought to find a language that would adequately express the changes and disruptions associated with modern life
Attempt to capture the dialectical relationship between each movement and its predecessors
Make connections between historical events and art genres
Encouraged you to think of styles as useful tools for exploration and analysis, rather than as hard and fast academic definitions, and to relate to the art itself rather than to a merely conceptual idea
Is a picture worth 1,000 words? Textual AnalysisDeborahJ
This lecture will introduce semiotics or the semiology of art, a mechanism for deriving meaning that is considered to a more inclusive development of Panofsky’s Iconography
How Art Works: Week 1 The ‘unruly discipline’ DeborahJ
This lecture will:
introduce ways to think about art and its history and help you to understand how art historians go about their practice
look at some of the issues and debates that make up the disciple of Art History
offer some reconsiderations of art history
consider the importance of the gallery and museum
Aims of todays lecture:
To analyse the conditions in which contemporary art is produced
To (re) evaluate your function as an artist within a broad context
Address making a living in the current climate of instability and enforced austerity
Consider issues of free labour, particularly internships, in the cultural sector
Macroeconomics- Movie Location
This will be used as part of your Personal Professional Portfolio once graded.
Objective:
Prepare a presentation or a paper using research, basic comparative analysis, data organization and application of economic information. You will make an informed assessment of an economic climate outside of the United States to accomplish an entertainment industry objective.
Embracing GenAI - A Strategic ImperativePeter Windle
Artificial Intelligence (AI) technologies such as Generative AI, Image Generators and Large Language Models have had a dramatic impact on teaching, learning and assessment over the past 18 months. The most immediate threat AI posed was to Academic Integrity with Higher Education Institutes (HEIs) focusing their efforts on combating the use of GenAI in assessment. Guidelines were developed for staff and students, policies put in place too. Innovative educators have forged paths in the use of Generative AI for teaching, learning and assessments leading to pockets of transformation springing up across HEIs, often with little or no top-down guidance, support or direction.
This Gasta posits a strategic approach to integrating AI into HEIs to prepare staff, students and the curriculum for an evolving world and workplace. We will highlight the advantages of working with these technologies beyond the realm of teaching, learning and assessment by considering prompt engineering skills, industry impact, curriculum changes, and the need for staff upskilling. In contrast, not engaging strategically with Generative AI poses risks, including falling behind peers, missed opportunities and failing to ensure our graduates remain employable. The rapid evolution of AI technologies necessitates a proactive and strategic approach if we are to remain relevant.
Biological screening of herbal drugs: Introduction and Need for
Phyto-Pharmacological Screening, New Strategies for evaluating
Natural Products, In vitro evaluation techniques for Antioxidants, Antimicrobial and Anticancer drugs. In vivo evaluation techniques
for Anti-inflammatory, Antiulcer, Anticancer, Wound healing, Antidiabetic, Hepatoprotective, Cardio protective, Diuretics and
Antifertility, Toxicity studies as per OECD guidelines
How to Make a Field invisible in Odoo 17Celine George
It is possible to hide or invisible some fields in odoo. Commonly using “invisible” attribute in the field definition to invisible the fields. This slide will show how to make a field invisible in odoo 17.
A Strategic Approach: GenAI in EducationPeter Windle
Artificial Intelligence (AI) technologies such as Generative AI, Image Generators and Large Language Models have had a dramatic impact on teaching, learning and assessment over the past 18 months. The most immediate threat AI posed was to Academic Integrity with Higher Education Institutes (HEIs) focusing their efforts on combating the use of GenAI in assessment. Guidelines were developed for staff and students, policies put in place too. Innovative educators have forged paths in the use of Generative AI for teaching, learning and assessments leading to pockets of transformation springing up across HEIs, often with little or no top-down guidance, support or direction.
This Gasta posits a strategic approach to integrating AI into HEIs to prepare staff, students and the curriculum for an evolving world and workplace. We will highlight the advantages of working with these technologies beyond the realm of teaching, learning and assessment by considering prompt engineering skills, industry impact, curriculum changes, and the need for staff upskilling. In contrast, not engaging strategically with Generative AI poses risks, including falling behind peers, missed opportunities and failing to ensure our graduates remain employable. The rapid evolution of AI technologies necessitates a proactive and strategic approach if we are to remain relevant.
Normal Labour/ Stages of Labour/ Mechanism of LabourWasim Ak
Normal labor is also termed spontaneous labor, defined as the natural physiological process through which the fetus, placenta, and membranes are expelled from the uterus through the birth canal at term (37 to 42 weeks
Safalta Digital marketing institute in Noida, provide complete applications that encompass a huge range of virtual advertising and marketing additives, which includes search engine optimization, virtual communication advertising, pay-per-click on marketing, content material advertising, internet analytics, and greater. These university courses are designed for students who possess a comprehensive understanding of virtual marketing strategies and attributes.Safalta Digital Marketing Institute in Noida is a first choice for young individuals or students who are looking to start their careers in the field of digital advertising. The institute gives specialized courses designed and certification.
for beginners, providing thorough training in areas such as SEO, digital communication marketing, and PPC training in Noida. After finishing the program, students receive the certifications recognised by top different universitie, setting a strong foundation for a successful career in digital marketing.
BÀI TẬP BỔ TRỢ TIẾNG ANH GLOBAL SUCCESS LỚP 3 - CẢ NĂM (CÓ FILE NGHE VÀ ĐÁP Á...
White cube
1. Postmodernism in Art: An Introduction The White Cube: Institutions, validation and elitism
2. Discussion: The White Cube Is it simply an empty ‘canvas’ for the contemplation of art? Dundee Contemporary Arts White Cube Gallery, London
3. DEBATE: To White Cube or to Not White Cube? FOR In distinction to non-white spaces, the White Cube is not a literal translation for a white-painted space, but that associated with the institution, the prestigious contemporary art venue, or the National Gallery, which, though the walls are in fact crimson red, is of the same character. AGAINSTExhibitions outside of the White Cube preserve traditional ideological tendencies and rarely truly liberate the spectator, in the end, coercively manipulating him/her with a façade of being for 'real' people.
4.
5. examine the gallery space, a carry over from the modernist era that is constructed along rigid laws; windows are sealed, and the outside world must not intrude. The walls are white and the ceiling becomes the only light source. The white cube was in the modern era, and remains in these contemporary times, the conventional means of displaying art. The ‘ideal’ gallery subtracts from the artworks all cues that interfere with the fact that it is art. Objects introduced into this space become art.
6. The White Cube Where did this idea come from? Initially domestic spaces Early 70’s artwork made for space Therefore nothing else needed Developed into museums and architects designing spaces “ The ideal gallery subtracts from the artwork all clues that interfere with the fact that it is “art”. The work is isolated from everything that would detract from its own evaluation of itself. This gives the space a presence possessed by other spaces where conventions are preserved through the repetition of a closed system of values…” Brian O’Doherty (1976) Inside the white cube
8. The main concern of the essay ishow to deal with the white cube convention for gallery design. O'Doherty's point is as simple as it is radical: the gallery space is not a neutral container, but a historical construct.
9. The white cube is conceived as a place free of context, where time and social space are thought to be excluded from the experience of artworks. It is only through the apparent neutrality of appearing outside of daily life and politics that the works within the white cube can appear to be self-contained -- only by being freed from historical time can they attain their aura of timelessness.
10. “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)
11. O'Doherty reminds us that galleries are shops -- spaces for producing surplus value, not use value : MatthieuLaurette : Opportunities: Let's Make Lots of Money 2005 - 2010
12. When does an artist's creation become art, and where? Does it occur in the solitary confines of an artist's studio or does it require the context of an art gallery's white cube? What is the relationship between these two culturally charged spaces? How does the site of art's presentation shape the meaning and determine even the very possibility of its existence?
14. Marcel Duchamp Portable museum (boite-en-valise, 1941) The flaps on the box can be opened to reveal a compilation of his works reproduced in photographs, prints and models, thus creating a portable, re-arrangeable museum The First International Dada Exhibition (1920) Anarchic and experimental display
15. October 11, 2009 Andrea Fraser on Institutional Critique The following quote sums up how I feel about art, and the blurring of art's lines, especially in my critical defense of relational practice for my thesis project. "[Michael] Asher took Duchamp one step further. Art is not art because it is signed by an artist or shown in a museum or any other 'institutional' site. Art is art when it exists for discourses and practices that recognize it as art, value and evaluate it as art, and consume it as art, whether as object, gesture, representation or only idea.” Andrea Fraser, "From the Critique of Institutions to an Institution of Critique," Artforum, September 2005.
16. Moving from a substantive understanding of “institution” as specific places, organisations, and individuals to a conception of it as a social field, the question of what’s inside and what is outside becomes much more complex. Andrea Fraser, “From the Critique of Institutions to an Institution of Critique”, ARTFORUM, Sept. 2005
17. Institutional Critique Critiques on the institutions of art (principally museums and galleries) are made in the work of Marcel Broodthaers, Daniel Buren and Hans Haacke. Daniel Buren ‘Closed show’ GalerieAppolinaire, Milano (1968) Gallery doors sealed with green-white stripes
18. 68 PEOPLE PAID TO BLOCK A MUSEUM ENTRANCE Santiago Sierra Museum of Contemporary Art. Pusan, Korea. October 2000
19. In 1971, the Wallraf-Richartz Museum, Cologne rejected his work Manet-Projekt 74 from one of their shows. The work was related to the museums recent acquisition of EdouardManet’s Bunch of Asparagus and detailed the provenance of the painting and Nazi background of the donor. Hans Haacke Manet-Projekt 74 (1971)
24. The typical setup of the museum-as-factory looks like this. Before: an industrial workplace. Now: people spending their leisure time in front of TV monitors. Before: people working in these factories. Now: people working at home in front of computer monitors. Andy Warhol’s Factory served as model for the new museum in its productive turn towards being a “social factory.” By now, descriptions of the social factory abound.It exceeds its traditional boundaries and spills over into almost everything else. It pervades bedrooms and dreams alike, as well as perception, affection, and attention. It transforms everything it touches into culture, if not art. It is an a-factory, which produces affect as effect. It integrates intimacy, eccentricity, and other formally unofficial forms of creation. Private and public spheres get entangled in a blurred zone of hyper-production. HitoSteyerl, “Is a Museum a Factory?” E-flux Journal #7, June 2009 - http://www.e-flux.com/journal/view/71
28. Fred Wilson, Mining the Museum, 1992-1993, (Indian Room) installation funded by Baltimore Museum of Contemporary Art, at the Maryland Historical Society, Baltimore
29. Fred Wilson, Mining the Museum, 1992-1993, (Baby Carriage and Hood ) installation funded by Baltimore Museum of Contemporary Art, at the Maryland Historical Society, Baltimore
30. Postmodern Spaces Musée d’Orsay. Opened as an art gallery in 1981. (Main structure completed in 1900)
32. “The white cube as the perfect or only site for showing and viewing art has been a contested idea for many years now. As artist began to see their work in the broader cultural context of its production so the context in which the work was seen came to have a greater significance.” Sam Ainsley
33. References O'Doherty, Brian. Inside the White Cube: The Ideology of the Gallery Space (Berkeley: University of California Press, 1999). http://www.societyofcontrol.com/whitecube/insidewc.htm
Editor's Notes
Discussion Question
Recent debate on axis the online resource for contemporary artDEBATE: To White Cube or to Not White Cube?FORIn distinction to non-white spaces, the White Cube is not a literal translation for a white-painted space, but that associated with the institution, the prestigious contemporary art venue, or the National Gallery, which, though the walls are in fact crimson red, is of the same character. AGAINSTExhibitions outside of the White Cube preserve traditional ideological tendencies and rarely truly liberate the spectator, in the end, coercively manipulating him/her with a façade of being for 'real' people.
This lecture will:explore the relationship between a contemporary artist, audience and the gallery wallexamine the gallery space, a carry over from the modernist era that is constructed along rigid laws; windows are sealed, and the outside world must not intrude. The walls are white and the ceiling becomes the only light source. The white cube was in the modern era, and remains in these contemporary times, the conventional means of displaying art. The ‘ideal’ gallery subtracts from the artworks all cues that interfere with the fact that it is art. Objects introduced into this space become art.
Where did this idea come from?Initially domestic spacesEarly 70’s artwork made for spaceTherefore nothing else neededDeveloped into museums and architects designing spaces“ The ideal gallery subtracts from the artwork all clues that interfere with the fact that it is “art”. The work is isolated from everything that would detract from its own evaluation of itself. This gives the space a presence possessed by other spaces where conventions are preserved through the repetition of a closed system of values…”Brian O’Doherty (1976) Inside the white cube
According to O’Doherty’s classic study Inside the White Cube, such spaces are actually rife with meaning, highly politicised and extremely powerful.The white cube is the dominant model for the showing of art with most galleries, museums, and alternative spaces still employing it.O'Doherty was writing not only within the specific context of post-minimalism and conceptual art of the 1970s, but also from the point of view of artistic practice. Aside from being a prominent critic, O'Doherty was also an installation artistAs both theorist and practitioner, insider and outsider, he was not in a bad position to examine the ideology of something as peculiar as the modern gallery space, the much loved and maligned "white cube.”
The main concern of the essay ishow to deal with the white cube convention for gallery designO'Doherty's point is as simple as it is radical: the gallery space is not a neutral container, but a historical construct.Furthermore, it is an aesthetic object in and of itself. The ideal form of the white cube that modernism developed for the gallery space is inseparable from the artworks exhibited inside it. The white cube not only conditions, but also overpowers the artworks themselves in its shift from placing content within a context to making the context itself the content. However, this emergence of context is enabled primarily through its attempted disappearance.
The white cube is conceived as a place free of context, where time and social space are thought to be excluded from the experience of artworks. It is only through the apparent neutrality of appearing outside of daily life and politics that the works within the white cube can appear to be self-contained -- only by being freed from historical time can they attain their aura of timelessness.
“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”
Enter the white cube, with its even walls and its unobtrusive artificial lighting -- a sacred space that (despite its modern design) resembles an ancient tomb, undisturbed by time and containing infinite riches. O'Doherty uses this analogy of the tomb and the treasury to illuminate how the white cube was constructed in order to give the artworks a timeless quality (and thus, lasting value) in both an economic and a political sense. It was a space for the immortality of a certain class or caste's cultural values, as well as a staging ground for objects of sound economic investment for possible buyers. O'Doherty reminds us that galleries are shops -- spaces for producing surplus value, not use value
When does an artist's creation become art, and where? Does it occur in the solitary confines of an artist's studio or does it require the context of an art gallery's white cube?What is the relationship between these two culturally charged spaces? How does the site of art's presentation shape the meaning and determine even the very possibility of its existence?
“The White Cube carries the same depressingly familiar aura, of an unassailable or transcendental authority, and derives from earlier aristocratic regimes of taste and aesthetics, or we might say, that presents itself as ‘democratic’, as postmodern fragment, or as a-historical model forcing through an ‘absolute value’. This reduces art’s necessary plurality guaranteed by the gallery system’s claim of neutrality, isolating any ‘infection’ of the real. This is a disaster by any definition, since it mediates the production of artistic gestures into a single ingenious system of ‘ethical’ values, fragmented onto egoistic or ethnic particularities, as a vague infinite of personal freedoms, whilst quietly endorsing the aestheticisation of the political. We are therefore obliged to seek a space of suspension from these motives, in the artistic gestures of refusal.”
Marcel Duchamp Portable museum (boite-en-valise, 1941)The flaps on the box can be opened to reveal a compilation of his works reproduced in photographs, prints and models, thus creating a portable, re-arrangeable museumThe First International Dada Exhibition (1920)Anarchic and experimental display
Institutional Critique is an art term that describes the systematic inquiry into the workings of art institutions, for instance galleries and museums For almost 40 years, Michael Asher has encouraged museums and art galleries to question the logic of their organizational and architectural structuresAndrea Fraser on Institutional CritiqueThe following quote sums up how I feel about art, and the blurring of art's lines, especially in my critical defense of relational practice for my thesis project."[Michael] Asher took Duchamp one step further. Art is not art because it is signed by an artist or shown in a museum or any other 'institutional' site. Art is art when it exists for discourses and practices that recognize it as art, value and evaluate it as art, and consume it as art, whether as object, gesture, representation or only idea.”
Moving from a substantive understanding of “institution” as specific places, organisations, and individuals to a conception of it as a social field, the question of what’s inside and what is outside becomes much more complex.
contemporary and the recent histories of institutional critique, spatial production and politics. If the gallery space is saturated with ideology (as O'Doherty claims), and if it can be analyzed spatially and politically through artistic practicesThe act of critiquing an institution as artistic practice, the institution usually being a museum or an art gallery. Institutional criticism began in the late 1960s when artists began to create art in response to the institutions that bought and exhibited their work. In the 1960s the art institution was often perceived as a place of cultural confinement and thus something to attack aesthetically, politically and theoreticallyIn 1968 Daniel Buren sealed a gallery in Milano
Hans Haacke is a leading exponent of Institutional critique, particularly targeting funding and donations given to museums and galleries. In 1971, the Wallraf-Richartz Museum, Cologne rejected his work Manet-Projekt 74 from one of their shows. The work was related to the museums recent acquisition of EdouardManet’s Bunch of Asparagus and detailed the provenance of the painting and Nazi background of the donor. During the 1990s it became a fashion for critical discussions to be held by curators and directors within art galleries and museums that centred on this very subject, thereby making the institution not only the problem but also the solution. This has changed the nature of Institutional critique,
In exploring galleries and institutions we become aware of the many contexts- historic, cultural, physical and philosophical- that ‘frame’ art practice and art works;Examine how such practices and modes of display emerged over the Modern eras;Explore how ‘frames’ bestow meaning upon art, and vice versa.
The typical setup of the museum-as-factory looks like this. Before: an industrial workplace. Now: people spending their leisure time in front of TV monitors. Before: people working in these factories. Now: people working at home in front of computer monitors. Andy Warhol’s Factory served as model for the new museum in its productive turn towards being a “social factory.” By now, descriptions of the social factory abound.It exceeds its traditional boundaries and spills over into almost everything else. It pervades bedrooms and dreams alike, as well as perception, affection, and attention. It transforms everything it touches into culture, if not art. It is an a-factory, which produces affect as effect. It integrates intimacy, eccentricity, and other formally unofficial forms of creation. Private and public spheres get entangled in a blurred zone of hyper-production.
The work of Michael Asher deals with issues concerning the contextual—and thus architectural and institutional—condition of art. Michael Asher’s work is based on direct and highly site-specific interactions with art institutions and their contexts. More exactly, Asher responds to the ways in which museums and exhibition spaces present themselves, or the objects they display, to their various publics.
American conceptual artist LouiseLawler, who moves in the field of tension of institutionalcritique and Appropriation Art, When museums became a focus of artistic interest in the early seventies, criticism was initially directed at the institution itself, as a centre of power. LouiseLawler smoothly develops this first generation of institutionalcritique and reflects social, aesthetic, and economic aspects of the institutional framework. She photographs the way works are presented in museums, galleries and private homes, and also follows them behind the scenes in depots, storerooms, and at auctions. Lawler’s practice goes beyond oppositional criticism of institutional power in order to question it systematically from the perspective of an accomplice.
Wilson's unique artist approach is to examine, question, and deconstruct the traditional display of art and artifacts in museums. With the use of new wall labels, sounds, lighting, and non-traditional pairings of objects, he leads viewers to recognize that changes in context create changes in meaning. Wilson's juxtaposition of evocative objects forces the viewer to question the biases and limitations of cultural institutions and how they have shaped the interpretation of historical truth, artistic value, and the language of display
To demonstrate how museums ignore or misrepresent the cultural contributions and history of blacks and Native Americans, New York installation artist Fred Wilson recently "mined" the Maryland Historical Society's collection (with that institute's cooperation) to create a powerful exhibit. His juxtapositions of the artefacts and objects included a Ku Klux Klan hood nestled in a turn-of-the-century baby carriage and iron slave shackles alongside a fine silver tea set. Wilson, a conceptual artist of African American and Caribeandescent, rearranged and labeled marble portrait busts, reward posters for runaway slaves, cigar-store Indians with backs turned to the viewer, doll houses and other artifacts.By creating this kind of ‘mock exhibits’ he is arguing fora more open, inclusive relationship between cultural institutions and the communities they serve.
“The white cube as the perfect or only site for showing and viewing art has been a contested idea for many years now. As artist began to see their work in the broader cultural context of its production so the context in which the work was seen came to have a greater significance.” Sam Ainsley