Before listing the limitations of the original research design, I will briefly summarise the research question and methodologies. Original research and limitations With a throughout case study of the 11th Shanghai Biennale and the concurrent local project 51 Personae, the main research question is: to what extent does the Shanghai Biennale, as a global contemporary art institution, articulate the sense of place for individuals through its local projects and public programming? To further look at the global-local interconnection, I put the second research question here: What evidence is there of ‘dialogue and collaboration’ between global and local artistic fields in this context, and how does it contribute to the making of local …show more content…
The Audience Agency (2011) suggests that the success of an event depends on how it defines its aims and objectives, and the audience perception is an important strand of evidence for the assessing. As the Shanghai Biennale is always exploring the ‘ultimate connection between urban life, contemporary art and the public’ (Shanghai Biennale, 2016), it should be evaluated by measuring whether it manages to connect and engage the public. Thus, it can be argued that the current research only interprets the biennale from the perspective of those who are producing or curating artistic works, rather than the visitor or the ‘audience’ of the biennale. Therefore, an alternative design calls for the participation of the visitors and attempts to see their behaviour during the events and how do they interact with, engage in, and interpret the Shanghai Biennale. Alternative research design To cope with the limitations of the original design from the two aspects, the alternative approaches I take for the research are participant observation (or ethnography) and self-administrated questionnaires among visitors. Although the new research will still use mixed-methods, it is organised according to the ‘convergent parallel design’. This design is characterised by simultaneously collecting qualitative and quantitative data with equal priority, and merging the outcomes of both approaches to illustrate a more complete picture
Art galleries are essential to the art world, however, is not the only source for audiences to view art. To begin with, art and artwork is defined as the application of human skill, creativity and imagination. Taking this into consideration, individuals need to examine the nature and purpose of art galleries as a facility to collaborate, organize and display a collection of artworks. As art however, is any expression of human creativity, its presence is not bound to art galleries and is evidently present in the world around us be it in photographs, the internet or even in graffiti.
This relationship between creator and consumer, and how the consumer’s involvement is responsible for authenticating social identities is best understood in terms of what Alfred Gell calls the art nexus. In his book Art and Agency, Gell’s theory of the art nexus considers the living presence response where viewers, or recipients, react to works of art as if they are living beings or even persons, that in turn act back upon the viewer, entering into a personal relationship with them that elicit a feeling or reaction. Through the art nexus, Gell demonstrates how art objects are able to embody intentionalities and facilitate agency. The art nexus becomes a network of social relations, mediating the push and pull
This paper will review different styles of research design along with how different variables within research can be measured.
From Japanese pop art to the black shapes of toxic clouds, Brisbane’s Gallery of Modern Art and the Queensland Art Gallery situated in Southbank, have it all. Even though, perhaps, there are some distinctly interesting art pieces which are currently displayed in these two galleries. These galleries exhibit a wide display of different genre of art ranging from film to installations and back to sculptures which show the concept of Identity- the Human Condition, but none quite so than the Contemporary Asian Art Exhibition and the Creative Generation Exhibition.
The framework suggested by Walker and Avant was used for the analysis described in this research. The method of research included:
Creswell, J. (2009). Research Design: Qualitative, quantitative, and mixed methods approaches. (3rd ed). Thousand Oaks, CA: SAGE Publications.
Public art encapsulates a large part of Chicago’s history, and engages many different people in varying ways. Recently, I was in the city observing art and came across a woman who was seeing the same pieces I was. She proceeded to tell me she had just gotten off a plane, that morning, from New York, keep in mind it was around noon when I saw her, and wanted to show her daughter the great pieces of public art in Chicago. She passionately relayed the rich historical context of a few works of art: her main point being that Chicago is a hub for a booming culture of art. She noted that great artists from Europe, such as Picasso, Chagall, and Dubuffet, wanted to be a part of the modern art trends happening in Chicago in the twentieth century. She went as far to say that “these [pieces of artwork] are unique in the world,” meaning they are so well known and respected that their popularity extends beyond the city of Chicago. It is curious to think about what makes a successful work of public art, and why artists and observers alike are so intrigued with the art in Chicago. In my opinion, two works of Chicago’s public art, Monument with Standing Beast and Cloud Gate, serve as effective works of public art due to their complexity and appropriate placement in space, however Cloud Gate is more effective because of its personal appeal to the audience.
To fully understand street art as a concept in itself, it is vital to explore why the art is made on, and for, the street. According to Chung (2009) art on the street “allows artists a platform to reach a broader audience than traditional art forms”. This is supported by Young (2016) who argues that the “street is the biggest gallery you could ever want”, the author goes on to note that often a “galleries audience is self-selecting and homogenous”- belonging in an “elitist art world”. This implies that unlike classical art in galleries, street art cannot discriminate and is open and available to everyone despite their background or beliefs. Not only does the street allow the art to be widely seen, its accessibility indicates the ideas of
“Artists who didn’t grow up in Boyle Heights see it as a blank canvas, they don’t realize they are painting over another work of art”, Voices of people living in communities all around LAL are being silenced by larger galleries suffocating local contemporaries. When on trend, these galleries begin to draw in artists and crowds from outside the community, again this can be seen as a good thing, however when galleries don’t support their community they allow for the unintentional creation of a new arts district that people can not afford and begin to be displaced. Independent spaces quickly begin to disappear along with the artists they often feature; these bigger galleries need to engage with these communities so voices can be heard to their fullest potential in all communities around Los
The fall 2016 exhibit at Esker Foundation features three shows: The Traveller by Cedric and Jim Bomford, Tear Down and Rebuild by Jasmina Cibic, and CIVIC. CENTRE. by Larissa Fassler. Curated by Naomi Potter, the gallery contains approximately 18 different works by the four above named artists. The shows each have strong work in their own right and converge on themes of construction, urbanization, and ideals of nationalism. Housed within a mixed-use retail and office building, to visit the gallery one must proceed to the fourth floor via a glass staircase. Upon entering the gallery an attendant greets you with instructions that programs are available with curatorial texts to take and aid with the visit. If you continue straight ahead, at the far end of the gallery, elevated on the second level is ‘the nest’ a circular meeting space or boardroom made from overlapping grey industrial strips that hovers above the space. The didactic texts are found on the wall below ‘the nest’, which is good placement to avoid the sculptural treatment of the meeting room from being a distractor away from the work, it’s large and could be mistaken as art in and of itself.
Positioned alongside Central Park within the heart of New York City, The Metropolitan Museum of Art is one of the largest and most influential art museums in the world. The Met houses an extensive collection of curated works that spans throughout various time periods and different cultures. The context of museums, especially one as influential as the Met, inherently predisposes its visitors to a set of understandings that subtly influence how they interpret and ultimately construct meanings about each individual object within a museum. By analyzing two separate works on exhibit at the Met, I will pose the argument that museums offer a unique expression of a world view that is dictated through every element of its construction.
time to visit museums. When public art is funded by the government, the artist’s imagination is
“How do you make a building for contemporary art that stays contemporary in the future without stooping to a neutral language? And how do you attract a big public without compromising the selfish, private, exclusive time we all want to have in a museum?” These questions, put forward by Elizabeth Diller of Diller Scofidio + Renfro, represent the urbanistic motivation supporting the construction of Boston’s Institute of Contemporary Art (ICA). In such a manner Boston’s ICA engages, not only with the urban citizen, but also the urban landscape in which the site is located. The ICA conveys the idea of architecture as art in itself. As a presenter of art to the urban citizen and because of its open design, the inside allows the citizens to not only appreciate the art within the building but also see the art of the building’s natural environment and setting.
When both research designs are used together, more information can be gathered. Mixed methodology uses the numerical portion of the quantitative study design in combination with the descriptive aspect of the qualitative study. There are many similarities between these two designs, which make them compatible with each other.
goes on in that world.... The basic unit of analysis, then, is an art world.”