Art And Art: A Reflection Of The Historical Museum

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When looking to the past in an effort to quantify a metamorphoses in exhibition design, it is noted that the space itself exists under the veil of intellectualism. The viewer is understood to be an educated individual with an interest in a particular point in history. Moving forward, it is remarkable to discover how the display space itself has been reconsidered. This is due to advancements in media and our methods of communication. No longer is there a great divide between artifact and audience. Object and participant commingle in an energized space of synergistic union. Ultimately, this is a reflection of our exploding media culture. As technology advances and media continually reforms, exhibition design must reflect these newly anointed curators.
Predictable Experiences
Surveying the history of exhibition design requires an understanding of the contextual ramifications. By controlling an object on display, the historical museum acquires social authority (Karp, Kreamer, and Lavine 149). Value is awarded to this artifact by its very placement within the chosen space. By removing the object from its cultural and economic milieu, museums effectively turn these materials into objets d’art. This premeditated creation is often used in order to guide the viewer to reflect upon the curator’s intended message.
When analyzing the museum of the past, one must consider all facets including the surrounding artifacts, the enclosure, lighting, color, and the space itself. It is also important to understand the connection between these elements, as well as, the relationship of these displayed objects with the viewer. There has always been a tendency to afford such a space with a formal relevance. It is humankind’s innate cu...

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...logy is a critical tool that will help us create the next generation of museums and afford visitors the freedom to connect with objects, art and ideas on their own terms.
Museums constructed as formal places for the display of authentic artifacts and a focus on cultural preservation are no longer the future ideal. Exhibitions designed for today’s audience have to compete in a constantly transforming market encircled by an exploding media culture. Consequently, the way in which the contemporary exhibition is created must accommodate this shift. Historical institutions, previously thought of as indifferent, are embracing technologies and strategies more often associated with cinematography and commercialism. Exhibition design is now synonymous with striking image-making, compelling message-making, and the creation of an extraordinary connective experience.

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