Argumentative Essay On The White Cube

[1] Which the show is an emerging of the idea Post minimalism. Where customary abstract painting at the time primarily explores certain issues or artist’s personal sensation in abstract manner, like Wassily Kandinsky’s painting, eccentric abstraction emphasise on the matter itself, materials, process of making, associations of organic qualities, colour, shape and sensuous experiences. [1]

1985 (Figure 2) first appeared in 1985 plastered on billboards around New York City. The piece is illustrated in monochrome colours so to not distract viewers from the meaning of the poster. The harsh contrast in colours between the black writing and white background make the piece stand out and draw the attention of bypassers. Written on the artwork is a list of well-known museums in New York City and beside them is a score of how many women artists have had one-person exhibits there in the past year. The results showed that the Guggenheim, Metropolitan and Whitney museums each had zero, whilst the Modern museum had one. These results are supposed to shock the audience and make gallery curators feel a sense of guilt, that it’s clear the art world don’t appreciate women artists like they do men. Whist they are confronting the public with that truth they are also providing another critical message with this piece. The Guerrilla Girls identified these museums by first name, not out of convenience, but to make a statement, that the only museums to allow women artist some form of respect like male artist do was the ‘modern’ museum. Emphasising the fact that gender discrimination and bias nature in the art world should be in the past, and the only museum that realises and recognises this is the modern one. The poster’s main message challenges the patriarchal world of art and confronts art galleries

Art is one aspect of the past that has carried on for decades. Art in any form may it be poetry, novels, and playwright, sculpting as well as painting, has been an outlet for generations and continues to be an outlet and a means for expression. This paper will discuss “ The Mona Lisa” one of Da Vinci’s most famous paintings, as well as another great painting, Antonio Veneziano’s

The title of the exhibition is called “Intersection: World Arts, Local Lives.” This exhibition opened on September 30, 2006. Some of the pieces displayed on this exhibition were not new, since Professor Brown had already gone over them. The exhibition contained a divination board, vessels, male and female figures, masks, headdresses, staffs, textiles, among others things. The art pieces were from different parts of the world. The exhibition is divided into four different sections, each with its own theme. The different themes were Art and Action, Art and Knowledge, Art and Power, and Art and Transformation. The art found in the museum seemed like it didn’t have any crack, dents, or breaks on them. Professor Brown showed the class some pictures of art pieces that had some broken

The authors wrote a very powerful article which contained many strengthens and very few weaknesses. I believe the authors best asset is as a result of this topic is so controversial, there are an even amount of representation of cases were art remained on display, and when exhibits were closed. In the text, there are two examples of where art was put on trial, but remained on display due to an artist right to freedom of expression. On the other hand, there were two cases were the art was taken down because it was too explicit for the

It showcases the dense, extensive and delicate connections in the artist’s experimental practices, which includes performance, installations, prints, photographs, films and paintings. The show reveals the transgression with the thematically structured six main galleries with an impressive display of Parr’s diaries in the foyer, films in the theatre and the artist’s archive, ‘Information Centre’. According to Parr, he said, “But in the foyer, I must say, there’s this rather beautiful pop-up space, which is nearly confined entirely to language pieces, and outside this space on the curved wall we’ve got 40 beautiful vitrines..and I’ve displayed 45 years of diaries. So the foyer’s got all of this text, and it’s very intimate.” The diaries were a very clever idea that gave a lot of help to the audience in terms of better understanding of the

This also includes galleries that show the artist's work. Many organizations have missions that promote ‘building community for artists.’ but many have high staff turnover and are unable to build a relationship with a community if they are also priced out of the area.

Both the whole arrangement of the exhibition and artworks are effective for showing the main idea of the exhibition. The different wall colorings in different rooms in this exhibition can give viewers fruitful visual experiences. The warm color atmosphere around the exhibition makes us forget about the fear and sorrow of death. Different rooms have different mediums of artworks. This gives the exhibition an outstanding rhythm that is different from normal exhibitions, which would not make this exhibition stiff. The artworks in this exhibition do not only reflect the theme but also make a good interaction with the viewers¬—especially the sculpture work We are Earth and Earth with Fire makes Stone: Ayotzinapa lives, the struggle continues. The exhibition taught me a new exhibition arrangement and also taught me what is Mexican “day of the

This article consists of two concepts: Labor/Work and Institutional Critique. Referring back to the Rindfleisch statement on how the murals will never be a possibility to duplicate in the future, indicates the hard labor and work that is put into those art pieces by the youths. The youths’ labor comes from motivation and dedication, and on top of that, it is commitment and team work that got those murals completed. Now, because these murals has been whitewashed and destroyed, that hard work and labor becomes meaningless. It is to say that whoever vandalized the work is critiquing it in a way to ridicule the effort. The other key concept is the Institutional Critique that Rindfleisch had about the private clubs and exhibitions, specifically

In the relatively short history of time-based installation, some development and changes have been made by a few artists influentially, such as Peter Campus, an American born artist, exploring a new area of new media and video art. To be specific, Campus’s works reveal a combination of video installation and single-channel video tapes. Influenced by his early career, as being a film editor, and receiving the degree of experimental psychology, Campus illuminated the idea of “staging” in a new way, and found a new relationship between the spectators and art pieces in 1970s. As follows, the essay is going to focus on the concept about how Campus’ installations approach the stage for an event by appropriately applying the effect of reflection as a basic function. Also, the essay will discuss how Campus’s works involve his body and the viewers’ during the period of the 1970s.

Although this week, I also was drawn to Truettner’s argument about passive and active perception of the artworks in museums, I was carried away with Barr’s involvement and the formative aspect of the “Modern Architecture: International Exhibition”. So, thank you for mentioning the “Case for Active Viewing. In his essay, Truettner contemplates an interesting controversy: on one hand, museums have to engage visitor into the active viewing for the full comprehension and understanding of the artwork, on the other hand, the excessive informational supplements might distract and discourage person from the artwork itself, and in some cases, ruin one’s personal interpretation, especially if the historic contest is in the disagreement with well-established

The different time periods of the works inside The Met allow one to see how painters of different eras valued different types of methods. In some works, the object they are painting is very clear, and in others, it is construed so much to allow an interpretation.

Peter Nesbett breaks the boundary and challenges the traditional exhibition. An art exhibition without the traditional art works, such as painting, sculpture. Instead of using traditional art forms. He selects imitating work, performance, and even cooking to submit his ideas, and concepts. Peter Nesbett provides another possibility, different of aspect of art to the participants. Also defining another model in curatorial

With this project, we wanted to pose the question ‘Are museums today presenting a diverse history of contemporary art or the history of money and power?’ We focus on the understory, the subtext, the overlooked and the downright unfair. Art can’t be reduced to the small number of artists who have won a popularity contest among bigtime dealers, curators and collectors. Unless museums and Kunsthallen show as diverse as the cultures they claim to represent, they’re just preserving the history of wealth and power. (“Whitechapel gallery – Guerrilla Girls” web).

This exhibition is inspired by the theme Memory focusing on Art as Navigation- A Matter of Time and Place and is taking place in Perc Tucker Reginal Gallery. Navigation is the process or activity of accurately ascertaining one 's position and planning and following a route. Navigation can be viewed in several contexts; Historical, Physical, Sociocultural and Phycological. In this exhibition, the context of Art as Navigation will be focusing more on the phycological element of navigation. The way Art as Navigation is viewed is through a cognitive development of achievement and understanding of knowledge, formation of beliefs and attitudes, and decision making and problem solving. It is the journey one takes either with going back to the