Curator’s role in making exhibition: Reflection!
The exhibition of ‘Reflection!’ will be discussed in the essay to demonstrate curator’s role in making an exhibition. This exhibition is a group exhibition based on a theme of “to construct point of convergence for reality and fabricated imagery through installations, sound and vision” (Oi!, 2014). The exhibition presents Leandro Erlich’s Bâtiment, Meta4 Design Forum’s Façade and Kingsley Ng’s Luna Park.
Incorporate works of different artists
Reflection! is not only a solo exhibition but a group exhibition, how to incorporate works of different artists into a larger picture instead of a parallel narration of each work was an essential consideration. In this exhibition, artworks of each artist
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Curators tell the story of the artworks through the exhibition’s layout. The exhibition of ‘Reflection!’ shows how the curators make advantage of the environment and facilities of the art space to curate a site-specific exhibition. As discussed above, Leandro Erlich’s Bâtiment and Meta4 Design Forum’s Façade are works of creation refer to the environment of Oi!. Kingsley Ng’s Luna Park also shows the best of curators’ work to arrange an appropriate space to show Kingsley’s work. For example, they used the sound of the traffic sound outside the gallery to be part of the sound effect of the exhibition because the gallery was located on ground floor. Another example was a part of his work was to screen shadow on the window. The window was not a newly installation but part of the gallery. However, there is a problem of execution that people can hardly figure out the projection in the daytime because the sunshine is too bright. Although the curators were smartly embodied the work of the artists into the context by using the features of the exhibition area, both of the curators and the artists overlooked the sunshine will pass through a real window and affect the visibility of the projection. The concept may not accurately deliver to audiences if they cannot see
Two of the most extensively analyzed works of art are Diego Velasquez's Las Meninas and Jan Van Eyck's Arnolfini Double Portrait. Both of these artist's talent won them recognition not only during their lifetime but after as well. Both Velasquez and Van Eyck have a justly earned title as the most talented artists of their respective times. A detailed examination of the details and intricacies of these artist's respective masterpieces, their similarities, and what sets them apart not just from each other but from other paintings from their time period and style, will lead the viewer to a better understanding of the mentalities of these gifted artists and how they transcend their respective genres and contemporaries to create their own artistic identities.
In society we are surrounded by images, immersed in a visual world with symbols and meaning created through traditional literary devices, but augmented with the influence of graphics, words, positioning and colour. The images of Peter Goldsworthy’s novel, Maestro (1989) move within these diameters and in many ways the visions of Ivan Sen’s film Beneath Clouds (2002) linger in the same way. Both these texts explore themes of appearance versus reality and influence of setting, by evoking emotion in the responder through their distinctively visual elements.
I chose to analyze the The Family, 1941 portray and The Family, 1975 portray, both from Romare Bearden, for this essay because they are very similar paintings but at the same time very different. To write a critical analyzes it was necessary to choose two different paintings that had similar characteristics. The text about critical comparison said that to compare things they have to be similar, yet different, and that’s what these paintings look to me. As I had already written an analysis of The Family, 1941 portray I chose to analyze and compare The Family, 1975 this time. Both works have a lot of color in it and through the people’s faces in the pictures we can feel the different emotions that the paintings are conveying.
DeWitte, Debra J. et al. Gateways To Art. New York City, NY: Thames & Hudson, 2012. Print.
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
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.
My sixteen week class in English 111. I was really nervous about this class. Because English has never been my strong point. This class has hard, but fun all at the same time. I learn a lot from this class. Meanwhile,the first day of class you handed a paper with a question on it. “The first thing I want to say to you who are students is that you must not think of being here to receive an education; instead, you will do much better to think of being here to claim one.” Even though putting my all in what I have learned, claiming my education with hard work because using the skills of the meal plan, as we write to different audiences and learning to be a Critically thinker as I start becoming a critically-Literate Citizenship.
In addition, the use of spot lighting also draws more attention to the pieces, especially in dimly lit rooms. I feel that it would also be appropriate to set an intimate, feminine ambiance, which relates to the fact that the artwork celebrates female influence. I want the audience to feel like they’re stepping into the House of Invention and perhaps even discover some revelations about themselves. As the audience circulate through the exhibit, they will feel the mystic and protection of the art and culture Indigenous artists such as Christian Chapman and Norval Morrisseau have been fighting to preserve. The exhibit will be the Future of the House of Invention, which could also serve as the
Within new media, there exists the desire and possibility to produce new effects upon the viewer, to grant new experiences. Pipilotti Rist seeks the creation of virtual utopias within the limitations of the video medium in installations such as her recent work at the Museum of Modern Art, Pour Your Body Out (7354 Cubic Meters) in 2009. The work transforms the typically bare atrium of the Museum of Modern Art into an active environment, where a reciprocal relationship between the viewer and the projection can take place. Communication between viewers also forms an essential component in the work; discourse becomes the mediator in the spectator’s relationship to the imagery.
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
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...
To that end, he included ornamentation, allusion, quotation, irony, wit, mannerism, color, and decoration to his architectural repertoire. Fundamentally, Venturi never forgot who architects design: people. He placed meticulous effort on architectural scale, variety, and visual detail to make buildings meaningful and vivid for humanity. Venturi applied these theories in practice in the Vanna Venturi House, a private residence he constructed for his mother. The project’s interior focuses on the individual needs of ordinary people, which epitomizes Venturi’s overriding ethos.
...ial installations, the changing functions and programs, and a deeper analysis into not a departure from the old, but rather a nod at the ever-changing definition of art and architecture.
The novel Image world demonstrates how people adopted spectacles then preferred spectacles in many prospective. Life has become a fancy presentation with manipulations and illusions, just in order to keep people interested and hypnotically responsive. One of the ways Image World proves this point is through theme, which is the central idea revealed through a literature work. In the novel Image world, Michael Posner describes popular places in the world like: Broadway, Cannes, Pairs, Milan, New York, London, Las Vegas, even theme parks in everyday life are all surround by spectacles and illusions. It’s all built and designed in a common ground of spectacle. Those places are sublime, but it is also part of fraudulence and people enjoin it. Michael Posner proves a fact ...
Wide stone stairways and a diagonal slicing wall disappear beneath the surrounding rocks, creating a dramatic path to the rooftop terrace in the Naoshima Contemporary Art Museum. Ando defines architecture as “the box that provokes.” He says, “I do not believe architecture should speak too much. It should remain silent and let nature in the guise of sunlight and wind speak.” His gift is to create spaces that respond to human needs and spirit, juxtaposing powerful concrete walls with light and nature to create a deep sense of peace. Using simple materials and geometry, Ando has produced a volume of exquisite