Analysis Of ' White Cube '

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The idea of undermining the authority of one or another established system has been the driving force of every great revolution, not only in the political sense, but also in all the aspects of life. Museums, galleries and other contemporary exhibition spaces have pretty much religiously adopted the “necessity of alienation” in terms of emphasizing the work of art through the form of ‘white cube’.1 From this perspective, the ‘white cube’ might seem as a dull, yet practical and successful approach, which is hard to reinvent. There are numerous ways of displaying art, mostly depending on its form and message, however, being adaptable, ‘white cube’ has become a starting point in the minds of the art-related majority, ironically metaphoric to a ‘blank canvas’, therefore – fairly boring. The masterminds behind the reinvention of the contemporary art scene are successfully overthrowing the regime of the basic background for the arts, despite what is proven to be scientifically easier attractive for the eye of the viewer. Whitney B. Birkett points out in his study “the white cube erects a psychological barrier between the artworks and their viewers,” suggesting that it dictates the rules for the behavior that make the spectator unconsciously feel distant.2 This body of work will analyse the alternative approach to the exhibitionism, through the example of the curatorial practice of Hans-Ulrich Obrist’s (further referred to as HUO) “do it”. The case has engaged international public
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