The Revolving Door: A Discourse On The Ideologies Of Artisti
There seems to be a kind of circular rhetoric which weaves in and out of the 'art within a context' discussion, or the 'what is art' question. Both of which will probably forever continue to fuel many debates and commentaries. In this paper, I would like to provide a discourse on the topic of gallery space vs. traditional museum space, beginning in the 19th Century up through the late 20th Century. It is interesting to read about such topics and find yourself walking in and out of a 'revolving door' of sorts. Through my research I started at one point and found, in the end, that I returned to the fundamental ideology with which I began. In doing so, it led me to another question of what the gallery space and the traditional museum space mean to us (our society) at present. In other words, these architectural structures (museum and gallery space alike) inevitably had analytical issues and vernaculars surrounding them, published essays that one reads about in today's libraries. However, what would the perceptual implications of the form and function of those structures be today? Time and technology have brought about change so quickly and steadily that things which were architecturally innovative in the late 20th Century hav
The most important monumental and conventional buildings of the time were part of three stylistic currents which took the lead out of this conflict. In other words, the perceptual experience an 'art viewer' at the time would have in a structure like the Altes Museum was largely influenced by this historical and cultural appropriation. Once you know that a patch of landscape representsa decision to exclude everything around it, youare faintly aware of the space outside the picture. In conclusion, I find myself returning to the starting point. These were International Neoclassicism, Ecole des Beaux-Arts, and Victorian Gothic. Once again turning the container used to contextualize and spatialize art into the art, containing the container, "artifying the artifier. With its three main exhibition floors of varyingheight, each an open gallery adaptable through moveablepartitioning to a wide range of exhibition needs. How much space does an artwork require? This issue and the vernacular surrounding it is what brings us to the gallery space, or the "white cube". In Inside The White Cube, Brian O'Doherty uses the mural painting as an exaggerated example of this issue on placement. Each picture was seen as a self-contained entity, totallyisolated from its slum-close neighbor by a heavy framearound and a complete perspective system within. (O'Doherty; 19) In these movements to flatten the picture plane by placing compositional emphasis on colors, shapes and lines, it becomes harder for a viewer to 'find their place' within the painting. All these gestures recognize the gallery as anemptiness gravid with the content art once had. These machine-age industrial materials needed to be taken responsibility for by the architect, almost like a parent-child relationship. While the The Eye is observing, the spectator becomes aware through the architecture and arrangement of the space that they have become a part within it.
Common topics in this essay:
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Acceptance Essays
