83,490 research outputs found
Ecotopia : Group Exhibition, Kitchener Waterloo Art Gallery, Kitchener, Canada - toured to Southern Alberta Art Gallery, Lethbridge, Canada (2013), Nickle Galleries, Calgary (2013), Kenderdine Art Gallery, Saskatchewan, Canada (2014)
Artists: BGL, David Brooks, Dagmara Genda, Rodney Graham, Isabelle Hayeur,Tristram Lansdowne, Maude Leonard-Contant, Lynne Marsh, Lisa Sanditz, Jennifer Steinkamp, T & T and Kate Wilson Guest curated by Amanda Cachia This exhibition explores environmental conservation, destruction and the cacophonous blend of architecture and decay in our technological age. Ecotopian fiction is a subgenre of the utopian or dystopian, where a vision for a world is either ideal or a nightmare. An element of the scifi or futurism can be found in some of the work represented in this exhibition, where artists are offering an alternative for postmodern living, where nature and technology can live more harmoniously, without wreaking great havoc on our environment. We live in abstract spaces and manufactured environments, where nature has become fabricated. These artists point out the absurdities, excesses and the challenges to these situations, and the amnesiac response of our population to these new falsehoods. Through their work they suggest that whilst this world we live in may be topsy-turvy,the new and decaying structures that we have created possess a beauty of decay where objects, monuments, and sites that have been overtaken by weeds, graffiti, wildlife are in fact a new archaeology for a new generation
Food service in museums and galleries: Dreamscape spaces for extended contemplation of the beautiful and the sublime
Concerning tourist consumption, food purchasing is commonly regarded as a key purchase for those seeking a distinct, sensory experience. Suitably focused food service design promotes reflection upon the holiday environment's cultural differences, compared to that of the everyday, and many tourist domain food offerings can be seen to have been designed to amplify this effect. This culture-food service integration, however, has not been much studied relative to museum cafés, although museum and gallery visits also form a type of leisure ‘break’ from everyday surroundings within a culture-laden environment. This paper explores the ideal spatial design dimensions of various museums, art galleries and historic house relative to food service integration. It proposes theoretical design dimensions, characteristics and considerations for the spatial design of the foodservice offer, as divined from consumer narratives concerning the ideal holistic visit experience
Between a White Cube, Black Box, and Warehouse: Constructing Spaces for Contemporary Art throughout the Recent Museum Building Boom
Since the 1990s, museum buildings and the art housed inside them have undergone dramatic changes. Once canonical structures, they have evolved to more suitably contain new art forms and reflect the expanding and dynamic purposes of the museum. Museum architecture constructs the meanings and values of institutions as its primary and most tangible symbol. It commands a specific approach for display rhetoric and dictates the ways users and curators make use of space. What is the relationship between the latest museum building boom and contemporary art? What specific architectural strategies are employed by museums and architects to suit contemporary art? This paper examines the recent trends in museum construction in order to explore the ways in which new museums have reshaped the museum experience and dialogue between users and contemporary art.Desde la década de 1990 los edificios de los museos y el arte alojado en ellos han sufrido cambios dramáticos. Las estructuras canónicas han evolucionado para contener de manera más adecuada nuevas formas de arte y reflejar los propósitos dinámicos y en expansión del museo. La arquitectura del museo manifiesta los significados y valores de la propia institución como su símbolo principal y más tangible, presenta un enfoque específico para mostrar la retórica y dicta las formas en que los usuarios y los curadores hacen uso del espacio. ¿Cuál es la relación entre el último auge de la construcción de museos y el arte contemporáneo? ¿Qué estrategias arquitectónicas específicas emplean los museos y arquitectos para adaptarse al arte contemporáneo? Este artículo examina las tendencias recientes en la construcción de museos para explorar las formas en que los nuevos espacios han reformulado la experiencia y el diálogo entre los usuarios y el arte contemporáneo
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<i>Every House on Langland Road</i> – the production of archival, architectural and artistic spaces
This article describes an Arts Council England project, undertaken by the author and a photographer, to examine spatial and temporal relations between an art project, its subject and its audience. The project explored and documented the architecture of a modernist 1970s housing estate, Netherfield, designed by a group of four architects for the new city of Milton Keynes. The estate has not aged well and the visual remnants of what had been an ambitious and idiosyncratic housing scheme were to be photographed and juxtaposed with the original architectural drawings. The photographic process contributed to a more complex series of perspectives which included the archival history of the estate and its surrounding new city, the people who live there and my own reflections on a council estate childhood. In turn, these perspectives are set out in this article in terms of the spatial and temporal realms in which they are, and continue to be, produced. Loosely conceived in terms of Lefebvre’s production of space triad, these realms are traced through the estate’s historical narrative from plans to buildings which then converge in the eventual art work. The gallery is seen as an assemblage of multiple connections drawn between various productions of archival, architectural and artistic spaces
New Media Art/ New Funding Models
Investigates the current state of funding for new media artists, with an emphasis on the support structures for innovative creative work that utilizes advanced technologies as the main vehicle for artistic practice
Csillag alakzatba foglalt idő : A komáromi Csillag erőd felújítása és bővítése = Star Shaped Time : Star Fortress Restoration, Komárom
As with many examples of Star Forts, dating back to the Renaissance, the plan form can not be appreciated from the ground. This defensive building type is unique for the way rampart walls and their subsequent access corridors and ancillary spaces create an unusual play on form, natural light and one's sense of orientation. Military installations once restored make ideal exhibition spaces, ideal for exploring as a realtime and historic experience. The quality of brickwork, contemporary masonry and architectural concrete also assist in this game play between past and present
‘Engage the World’: examining conflicts of engagement in public museums
Public engagement has become a central theme in the mission statements of many cultural institutions, and in scholarly research into museums and heritage. Engagement has emerged as the go-to-it-word for generating, improving or repairing relations between museums and society at large. But engagement is frequently an unexamined term that might embed assumptions and ignore power relationships. This article describes and examines the implications of conflicting and misleading uses of ‘engagement’ in relation to institutional dealings with contested questions about culture and heritage. It considers the development of an exhibition on the Dead Sea Scrolls by the Royal Ontario Museum, Toronto in 2009 within the new institutional goal to ‘Engage the World’. The chapter analyses the motivations, processes and decisions deployed by management and staff to ‘Engage the World’, and the degree to which the museum was able to re-think its strategies of public engagement, especially in relation to subjects,issues and publics that were more controversial in nature
Spaces In, Outside Of, and Between
My practice involves leveraging analog and digital techniques from many disciplines, but especially graphic design, craft/material studies, and sculpture. I embrace reproduction and repetition as both tools and means to visualize what is often unseen, and to recognize not only what is made, but what supports making— from the straightforward and immediate to the complex and conceptual
Curatorial cultures : considering dynamic curatorial practice
The practice of curating is live and temporal. It has shifted dramatically from its anonymous backstage origin within dusty museums to a role at the forefront of modern art, and is responsible for conjuring both a synergy and a dynamic that operates across a multitude of levels. Curation is a rapidly growing practice and discourse that is fundamentally shifting the ways in which we view and receive art.
Much of this shift has been influenced by the works being curated, and with a growing body of works being process-led as opposed to object-based; the practice of curation has had to evolve accordingly. This evolution also encompasses the use of alternative exhibition spaces, a movement away from white-walled galleries, and the historic agendas these imply.
The increased integration of media-related artworks into mainstream art agendas has contributed to this development of the curatorial role, as it has for collectors, gallerists and archivists. Although it can be argued that performative and interactive works have been curated using traditional methods for a long time now, it is really media-practices that are demanding an alternative perspective.
This paper will look at how responsive methods and approaches are called for when curating media-artworks, and how they shift the curatorial role to that of an active practitioner. It will consider curation as praxis; positioning it at a point between what is known and what will be revealed.
It will refer to actual exhibition strategies employed by the author, and look to further discuss how dynamic curatorial approaches can be integrated into mainstream curatorial roles, and how these can subsequently evolve thinking on the presentation and display of contemporary art.</p
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