F A I T H
Experience certainly counts for more than it used to in the gallery. This is not to say that 'art' is any more or less important than it ever has been, but that somehow, culturally, we expect to encounter something more than just a collection of art objects in a space now. The integration of technology into the all day, everyday of contemporary life has had important implications upon many industries, and the arts have not - and cannot - be exempt.
Rosa's experience of David Bowie is illustrates an acknowledgement of this appetite for innovation - despite how ineffective she felt the experience of Sennheiser's sound guide may have been. For a 'blockbuster' exhibition in one of London's most popular art institutions, the decision to make a start at enhancing exhibition experience on such a large scale should be applauded - and through such a development, we can take the opportunity to consider the critical strengths and weaknesses of mobile interpretation and exhibition design within the gallery.
During last month's Museums and Heritage Show, D I S C O U R S E were excited by and really impressed with a talk from Antenna International, who provide a wide variety of top class guides and tours for galleries and museums. 'Experience Design: Evolving Mobile Data' was given by Jessica Taylor (Global Head of Digital Media) and Giles Pooley (Experience Designer at EMEA), and gave the audience not only an insight into what Antenna International delivers, but what enhancing experience through technology can mean for all kinds of art institutions. The context of our increasingly connected lives - particularly through the exponential growth of smartphone use - does result in the gallery's development into somewhere that is no longer discrete from the informational networks through which we operate. The challenge for companies like Antenna is to cut through the additional or unnecessary noise in order to give a gallery visitor the best experience possible of the art, and with this context in mind, content is incredibly important. Delivering a story using appropriate language and format is essential for engagement, and what is often helpful here is the use of a familiar device. Ensuring that people engage with digital possibilities needs to be very simple, and in some situations, allowing the personalization of interaction methods can be a perfect way to allow that visitor access to what Antenna referred to as that 'third space': the area of access that mediates the visitor and the art space.
As is obvious from this post as well as Antenna's fascinating (and very well delivered) talk, there are many questions and important tangents to such a discussion. But aside from these separate points of interest, its brilliant to see that galleries and museums are looking ahead for new ways to engage wider audiences with art - particularly through technology.
Showing posts with label Conversation. Show all posts
Showing posts with label Conversation. Show all posts
'David Bowie is' | Questioning sound tech's intervention
R O S A
Last Friday I went to the V&A's blockbuster exhibition 'David Bowie is'. This post notes how I found the viewing experience different/interrupted, as a result of the designed sound experience. Perhaps reflective of David Bowie's musical output, sound played a large role in the exhibition. To create this hybrid experience the V&A collaborated with sound specialists at Sennheiser, whose mission was to help the Museum 'bring together Sound and Vision' (Sennheiser, 2013). However, where sound experience can often strengthen the relationship between visitor and exhibit (in its provision of additional content), I found that in this case it distanced my relationship with the exhibits. Whilst the content of Sennheisers sound guide was both relevant and interesting, its all-encompassing and controlled nature made it difficult to fully engage with either the sound guide OR the collection. Different to others, this audio guide is not a 'guide' at all; instead audio info is triggered based on where the user is currently stood, removing the opportunity for viewers to navigate their own experience. Hopping around to find the right trigger spot, I began to resent the audio content for dictating my viewing experience. Overall, it seemed that the exhibition content was being relayed by too many voices (both active and contributing at the same time). Had the audio content been activated by the visitor's selection rather than triggered by their location, this may have minimised confusion between the multiple information sources, and minimised the audio guides control over the visiting experience.
This post is critical in its discussion to recognise how tech can hinder a viewing experience as much as it can heighten it. Perhaps curating the work of a Musician/Artist whose career is multi-faceted (fashion, music, artwork, video, design etc) requires a similarly multi-faceted viewing experience. However, when introducing these new dimensions the audiences' liberty to engage with art independently should never be forgotten.
Click here for the Sennheiser press release.
'A Walk Through British Art' - Tate Britains new Interpretation model
R O S A
Instigated by Tate Britain's director Penelope Curtis, the permanent collection has been re-staged. The new display model ‘A Walk Through British Art’ went public on the 14th May 2013, reversing most of the decisions made when Tate Modern first opened in 2000. Factors of Curtis’ rethink include: the removal of accompanying interpretation, chronological display in place of thematic, and lastly the inclusion of more artworks. However, with the introduction of this new model comes the question – why?
Instigated by Tate Britain's director Penelope Curtis, the permanent collection has been re-staged. The new display model ‘A Walk Through British Art’ went public on the 14th May 2013, reversing most of the decisions made when Tate Modern first opened in 2000. Factors of Curtis’ rethink include: the removal of accompanying interpretation, chronological display in place of thematic, and lastly the inclusion of more artworks. However, with the introduction of this new model comes the question – why?
Museum Interpretation largely contributes to how exhibits are percieved and experienced by the visiting audience; therefore a big question for these institutes has always been: how much interpretation should we provide, and in what form? Each of the changes implemented by Curtis alter the way in which this narrative is delivered. Instead of attaining context through the artworks’ accompanying text panels, this now takes place in the form of ‘Introduction rooms’ (Sabine Kohler, Tate, 2013); separating the text display from the artwork display. Also providing context is the new chronological order of the permanent collection. Different to Tate Britain’s old thematic model, the chronological display links art to its history more directly; allowing artworks to describe British history, and British history to help describe the artworks. Additional to the chronological timeline running along the walls, the central floor space is filled with the BP spotlight collection 'offering more depth on particular artworks, artists or themes' (M+H Magazine, 2013) which will be the only part of the display that regularly changes.
Assuming that Tate Britain removed text panels in favor of an ‘un-disturbed’ experience, my first reaction to the Guardians headline: ‘Tate Britain scraps explanatory panels next to works of art’ was - oh no, the audience will be alienated! However, instead it seems that this model is about re-deciding when museum interpretation should be introduced, minimising unnecessary intervention. Removing the option for visitors to read their way around the Tate Britain, this new model ensures that the primary activity carried out in the galleries is to engage with art by looking.
Click here to watch '500 years of British Art - Director's highlights: Penelope Curtis'.
'The Last Art Collage' with Garry Neill Kennedy
F A I T H
Garry Neill Kennedy was the president of The Nova Scotia Collage of Art & Design in Halifax, Canada between 1967 - 19990, and taught/worked with the likes of 'Minimalist' legends Sol Lewitt, Carl Andre and Dan Graham, who studied at the school (more info about Garry here).
This afternoon, Garry gave an artist's talk in Old Mining (School of Fine Art, History of Art and Cultural Studies, University of Leeds) - but it wasn't really much to do with anything. When I say this, I mean it from an art-historical point of view.
In accordance with his latest (and first) publication 'The Last Art Collage', Garry went through a catalog of works created by his students, accompanied by some images. Important pieces like Michael Snow's 'La Region Central' and John Baldessari's 'I will not make any more boring art' were explained in terms of what the artist did to actualize an idea, however the actual ideas were not even briefly touched upon by Garry himself. There was no discussion of why these incredible artists did the things they did; no insight into the themes and ideas that were being investigated through their contemporary (and often very bizarre/abstract) practice were mentioned at any point. I found this chronological presentation very dull, and admittedly I was very disappointed by the talk - particularly since I've spent the last few months researching Minimal and Fluxus practice in order to use examples as arguments in my final year dissertation. The juxtaposition between my recent in-depth, archival considerations and Garry's remarkably laid-back attitude was unbelievable - yet it must be acknowledged that he wasn't uninterested or boring. If anything, Garry (even after having written a book) seemed almost unaware of the huge impact his students and his education methods had had on art history. Rather than focusing his talk on a discussion of the themes at play in the work he presented, the unstructured, inconclusive form in which he made this presentation illustrated the aforementioned artist's approach to the influential works they were making. Perhaps during their time at The Nova Scotia Collage of Art & Design, the artists, like Garry during today's talk, didn't discuss the ideas. Perhaps just doing - or showing, as Garry did today - was enough.
Garry Neill Kennedy was the president of The Nova Scotia Collage of Art & Design in Halifax, Canada between 1967 - 19990, and taught/worked with the likes of 'Minimalist' legends Sol Lewitt, Carl Andre and Dan Graham, who studied at the school (more info about Garry here).
This afternoon, Garry gave an artist's talk in Old Mining (School of Fine Art, History of Art and Cultural Studies, University of Leeds) - but it wasn't really much to do with anything. When I say this, I mean it from an art-historical point of view.
In accordance with his latest (and first) publication 'The Last Art Collage', Garry went through a catalog of works created by his students, accompanied by some images. Important pieces like Michael Snow's 'La Region Central' and John Baldessari's 'I will not make any more boring art' were explained in terms of what the artist did to actualize an idea, however the actual ideas were not even briefly touched upon by Garry himself. There was no discussion of why these incredible artists did the things they did; no insight into the themes and ideas that were being investigated through their contemporary (and often very bizarre/abstract) practice were mentioned at any point. I found this chronological presentation very dull, and admittedly I was very disappointed by the talk - particularly since I've spent the last few months researching Minimal and Fluxus practice in order to use examples as arguments in my final year dissertation. The juxtaposition between my recent in-depth, archival considerations and Garry's remarkably laid-back attitude was unbelievable - yet it must be acknowledged that he wasn't uninterested or boring. If anything, Garry (even after having written a book) seemed almost unaware of the huge impact his students and his education methods had had on art history. Rather than focusing his talk on a discussion of the themes at play in the work he presented, the unstructured, inconclusive form in which he made this presentation illustrated the aforementioned artist's approach to the influential works they were making. Perhaps during their time at The Nova Scotia Collage of Art & Design, the artists, like Garry during today's talk, didn't discuss the ideas. Perhaps just doing - or showing, as Garry did today - was enough.
Authentic Intervention
R O S A
As a side point to my last post, I'd like to mention a discussion I had today concerning displaying objects in Historic (Country) Houses. We talked of the tension between making something new look old, and something old look new. I think this presents many issues (mainly concerning the authenticity of an artwork and the historic narrative of the building), but is interesting in realising the control we can have over the age of an aesthetic.
To what degree do you clean a medieval painting without making it look younger than its actual age? And in doing this, are we going against the authenticity of the work? To what degree do you age the appearance of something new without disrupting the true history of the building/artworks it is displayed alongside? A fellow course member bought up a Conservator she knows in Venice, who talked of conserving frames in different ways (shining or rusticating) depending on where the art was due to be displayed. I found this interesting, and relevant to the discussion carried out in our last posts. And by the way, I'm really enjoying our discussion of conservation as it's an area I have never fully considered in my study/understanding of art - its great!
Aesthetics that choose not to be preserved
R O S A
Another way to look at this is by focusing on works of art/architecture that deliberately desire to be free from preservation. As a starting point I have decided to continue this discussion by looking at stranger examples of interactive/non-preservable 'artworks', as opposed to techy/new media - starting with Mexico's 'Underwater Museum' Cancun.
The Cancun Underwater Museum is the first of its kind, consisting of a series of underwater sculptural installations. The sculptures are all designed to become artificial reefs and are constructed from special materials which create areas for corals to exist and marine creatures to live and breed. The idea rests in the development of the sculptures aesthetic over time, becoming part of the environment they exist in as marine life colonize the structures. The work focuses on the affinity between sculpture and its selected context. The 'conservation' of these sculptures would therefore not only be irrelevant, but would defeat the entire purpose of the installation. Instead, the motivation is to create sculptural work that can be interacted with both by the human audience, and the surrounding wildlife. The work, taken out of the water to be 're-touched'/'re-stored', would setback their aesthetic ambition.
Whilst retaining an artworks appearance through conservation, its context and location are often subject to change. What I enjoy about this work is that it operates in the opposite way: its aesthetic will be subject to change, whilst its context remains the same. And so we are free from the danger of mis-representing, or mis-interpreting the sculptures in a different location.
In thinking about these ideas I was reminded of the architectural offerings of African tribes, mentioned in a recent lecture. Built for the appropriation of the deity Ala, old men from the village are held responsible for deciding when the building and sculptures are finished. Once this is decided, the building is not lived in, worshiped in or visited; it is left to rot, the sculptures and architecture gradually fading back into the forest and becoming part of its surroundings. In contrast with the museological idiom of the west, the intention to preserve and collect is once again absent and irrelevant. In Igbo once the building and sculptures are complete it remains in the past, as an offering instead of a preservable structure or artwork.
These examples remind us that not all art is made to be preserved. Much work is made for a specific time period alone; one could argue that in some cases this makes the work more authentic. When visiting the Underwater Museum in 50 years time, the absence of conservation will allow for the developed sculptures to expose the time-span of the their existence.
In relation to our previous posts: 'Conservation of Contemporary Art?' & 'What happens to todays work in the future?', I am going to finish by suggesting that perhaps conservation is not irrelevant, but is certainly less relevant to contemporary art than to the more traditional art aesthetic. Whilst today we face greater risk of creating less durable and conservable artwork, maybe this is appropriate to and characteristic of the fast moving technological world that contemporary art is increasingly apart of.
What happens to todays work in the future?
F A I T H
Wow - there's so much to think about in response to your latest post; I love it! I'm going to try and focus on one of the first points of concern you raised: that contemporary development of art strategies may negate classical art practice:
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I think a lot of what is being implied in this question relates to the expectation of 'what art is', and for this reason, the immediate danger here is to consider a notion of the stereotypical or cliche within History of Art. The contemporary practices of Installation or Performance - categories under which you suggested placing Bring the Happy - are often not recognised as relating to 'traditional' works; indeed, the suggestion that this kind of art 'moves away from arts traditional ties' owing to its function (participatory/conceptual rather than purely decorative) in itself is problematic.
There is clearly much to discuss around notions of categorisation, tradition verses the traditional, authenticity in the arts, and definitions of the classical and the contemporary (I have no doubt that D I S C O U R S E will investigate some of these terms in the future). However, your initial idea about Conservation with regards to the contemporary art is really interesting.
The curation, collection and then conservation of todays Interactive/Participatory/Techy/'New Media' pieces of art are complicated areas of arts practice - especially if the 'aesthetic traditions' you mentioned include the exhibiting of historical, maintained works (Greek Sculptures) in museums. The concern you express for the future exhibition of today's complicated (digital) artworks is shared, and I think its an area that we'd both benefit from researching. Shall we focus our consecutive posts on this topic and our findings?
Wow - there's so much to think about in response to your latest post; I love it! I'm going to try and focus on one of the first points of concern you raised: that contemporary development of art strategies may negate classical art practice:
.JPG)
I think a lot of what is being implied in this question relates to the expectation of 'what art is', and for this reason, the immediate danger here is to consider a notion of the stereotypical or cliche within History of Art. The contemporary practices of Installation or Performance - categories under which you suggested placing Bring the Happy - are often not recognised as relating to 'traditional' works; indeed, the suggestion that this kind of art 'moves away from arts traditional ties' owing to its function (participatory/conceptual rather than purely decorative) in itself is problematic.
There is clearly much to discuss around notions of categorisation, tradition verses the traditional, authenticity in the arts, and definitions of the classical and the contemporary (I have no doubt that D I S C O U R S E will investigate some of these terms in the future). However, your initial idea about Conservation with regards to the contemporary art is really interesting.
The curation, collection and then conservation of todays Interactive/Participatory/Techy/'New Media' pieces of art are complicated areas of arts practice - especially if the 'aesthetic traditions' you mentioned include the exhibiting of historical, maintained works (Greek Sculptures) in museums. The concern you express for the future exhibition of today's complicated (digital) artworks is shared, and I think its an area that we'd both benefit from researching. Shall we focus our consecutive posts on this topic and our findings?
Conservation of Contemporary Art?
R O S A
So what category would we place Bring the Happy under as an artwork - Installation? Performance? Such work moves away from arts traditional ties, functioning as participatory/conceptual instead of a purely decorative function. But in making these innovations, what aesthetic traditions are being compromised? Last week I attended a talk at Temple Newsam (@TempleNewsam) addressing the conservation of art in the Leeds Collections. This talk was delivered by Jenny Hack (painting conservator) and Ian Fraser (head of preventive conservation).
Jenny Hack talked of the two modes of conservation: to re-store and to re-touch. I asked Jenny why, if we are so concerned with retaining the objects true authenticity, are Greek sculptures not brightly painted? In response we discussed the boundaries of the conservator. Although it is known that Greek Sculpture was once coloured, due to the lack of documentation 're-touching' them in this way may put us in danger of fabricating the works original appearance. This is being addressed by the use of digital technology, projecting onto works 'what may have been' without physically falsifying the material object.
With this in mind it seems today's art practice may come up against the opposite problem. Different to the Greeks we face no shortage of documentation; mass media (photographing, blogging, tweeting, filming) puts us in the position where such a suggestion would be impossible. Documenting is not only widely practiced, but has become a characteristic of our contemporary culture. However, are we instead in a greater danger of the loss of material object?
Jenny talked of the difficulty in conserving objects made of degradable materials or involving technologies that become obsolete (Bring the Happy), in place of durable materials such as oil paint. This issue is something that NeCCAR (Network for the Conservation of Contemporary Art Research) have been introduced to resolve. However aside from this issue regarding material, other questions must also be considered. How are we to conserve artworks that are location specific? How are we to conserve artworks that require a certain person or performance to function? When supposing this, it may be justified to state that contemporary art seems to place greater concern on concept over the durability of its aesthetic.
My main thinking when leaving the talk was: will contemporary art remain in museums as the ancient Greek culture continues to exist in ours? Perhaps this is missing the point of what contemporary art is all about. With 'concept' playing such a large role, maybe the physical object and its durability take the back seat. It may be that the artwork of today will exist in the future in-part as material object, but mostly through text and documentation... as projections not of 'what may have been', but 'what was'.
Everyone can do it
F A I T H
However large some of us understand the scope of art to be, it must be acknowledged that many people simply believe that art 'isn't for them'. One thing I particularly like about Invisible Flock's work is how accessible the piece is; through the medium of memory, Bring The Happy invites absolutely everyone to take part in and personally create a collective work of art. The work surely sits under many other categories as well: it could be understood as cultural mapping, or even something like sociological psychology. Guy Debord's 1955 term 'psychogeography' certainly fits the bill in some respect. But the way in which Richard and the team turn the invisible (memories) into a visual project illustrates the artistic endeavor of Bring The Happy - the emotional contours that overlay the Leeds City map create a beautiful new landscape, suggesting alternative understandings of familiar places.
The social engagement induced by the participatory nature of the work of Invisible Flock certainly help to define their practice, as well as the practices of many other arts organisations. Rather than considering this work via theories of relational aesthetics, I'd like to focus on the simple effects that I think Bring The Happy will have produced. As previously mentioned, a project of this nature involves a wider audience of people who might not identify in any way with art, encouraging the public not only to think about what the art is doing but to actually contribute to it as well. This must have been really exciting - and I think it is key to acknowledge that this art introduction happened outside the gallery. By staging the art event in different parts of the city center, the work was allowed to be diverse enough to represent a more accurate and emotional view of Leeds as a home to many different people.
The development of the Bring The Happy project is interesting, and to me it completely makes sense to continue sharing the discoveries of such a collection of memories. It may not have been the projects predominant aim to enable those who feel like art 'isn't for them' to wholeheartedly engage with it. But I believe that everyone's capacity to retain and share memories could somehow parallel everyone's potential to participate with art.
However large some of us understand the scope of art to be, it must be acknowledged that many people simply believe that art 'isn't for them'. One thing I particularly like about Invisible Flock's work is how accessible the piece is; through the medium of memory, Bring The Happy invites absolutely everyone to take part in and personally create a collective work of art. The work surely sits under many other categories as well: it could be understood as cultural mapping, or even something like sociological psychology. Guy Debord's 1955 term 'psychogeography' certainly fits the bill in some respect. But the way in which Richard and the team turn the invisible (memories) into a visual project illustrates the artistic endeavor of Bring The Happy - the emotional contours that overlay the Leeds City map create a beautiful new landscape, suggesting alternative understandings of familiar places.
The social engagement induced by the participatory nature of the work of Invisible Flock certainly help to define their practice, as well as the practices of many other arts organisations. Rather than considering this work via theories of relational aesthetics, I'd like to focus on the simple effects that I think Bring The Happy will have produced. As previously mentioned, a project of this nature involves a wider audience of people who might not identify in any way with art, encouraging the public not only to think about what the art is doing but to actually contribute to it as well. This must have been really exciting - and I think it is key to acknowledge that this art introduction happened outside the gallery. By staging the art event in different parts of the city center, the work was allowed to be diverse enough to represent a more accurate and emotional view of Leeds as a home to many different people.
The development of the Bring The Happy project is interesting, and to me it completely makes sense to continue sharing the discoveries of such a collection of memories. It may not have been the projects predominant aim to enable those who feel like art 'isn't for them' to wholeheartedly engage with it. But I believe that everyone's capacity to retain and share memories could somehow parallel everyone's potential to participate with art.
'Bring the Happy' Participatory Art
R O S A
At a recent REcreative briefing myself and Faith attended at the Hepworth Gallery, Richard from Invisible Flock gave a talk. The Invisible Flock are an interactive art collective, making live moments, things and games. The main characteristic of their work lies in its participatory nature. Richard talked of interactive art by giving us a walk-through summary of all the Invisible Flock’s projects to date (http://www.invisibleflock.co.uk/). What I found exciting about their collective, was the importance and necessity of the viewers role as the final piece of the work. Each project in different ways addressed boundaries of what an audeince can or should do (in comparison to formal gallery etiquette), by extending an inivtation for the viewers involvment.
'Bring the Happy', was a project in which the Invisible Flock took over an empty shop in The Light shopping centre (Leeds), creating a 'landscape of happiness'. A large map of the town centre was laid out on the floor as one part of the installation, but the completion and development of the work required members of the public to mark out on the map where a happy memory had taken place, rating it out of 10. Each memory was marked by a glass rod, the height of the rod determined by the happiness rating. Three days into the project, Invisible Flock were asked to leave the shopping centre, moving the project to the Leeds City Market. Richard talked of the advantage of this move in how it opened the project up to a larger more varied cross-section of the public, making the map a more truthful reflection of its people.
Whilst Bring the Happy is a project about happiness - 'the what, the where, the how much', Richard also stated how the installation inevitably became quite sinister. Not only as portrait of happiness, but also 'sometimes tragic, sometimes ridiculous and occasionally mundane' experiences.
Hosting over 1000 memories, the Installation is now continuing to exist as a performance piece in collaboration with Hope and Social (http://www.hopeandsocial.com/). The performance part of the project has been used as an opportunity to continue this dialogue between artwork and viewer, playing back the contribution they have made from a different art-driven perspective. The performance will now tour round England during 2013/14 stopping at 5 locations, and mapping each of their happiness landscapes. So, bring the happy everybody!
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