Social Interaction And Collaboration Is A Factor That Can Encourage Audience Participation

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.

We can see peoples’ interaction through art. Art itself can be used for various purpose like for showing splendor, ritual, propaganda, and power. All culture shows those aspect like in ancient Mesopotamian, Egyptian and Minoans. However, Minoan had a different approach compared to the others, which make unique.

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

Positioned alongside Central Park in 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 museum, especially one as influential as the Met, inherently predisposes its visitors to a certain set of understandings that subtly influence how they interpret and ultimately construct meanings about each individual object within the museum. Brent Plate in Religion, Art, and Visual Culture argues that “objects obtain different meanings in different locations and historical settings.”An object placed on display behind a glass case inside a museum would hold a vastly different meaning if it was put on sale by a street vendor, like the ones who set up their tables in close proximity to the Met. The different meanings that objects are able to obtain is attributed to the relationships that are established between the object itself and the environment that surrounds it. These relationships often involve the kind of audience that a museum attracts, where the work is exhibited, and how the exhibits within a museum is planned out. Museums subsequently have the ability to control how these relationships are established which influences the way a viewer is able to construct meaning. When a visitor observes an object on display at the Met, they instinctively construct a certain set of

How can art make an audience listen? Sonny Assu sets a prime example of getting a viewer 's attention, in his piece “The Away Teams Beams Down to What Appears to be Unlimited Planet,”2016 displayed at the Vancouver Art Gallery. The following writing will talk about Sonny Assu as an artist and the social historical context of the work.

This past Friday, I attended an art exhibition at the Memphis College of Art where I saw great paintings from Meghann Riepenhoff, along with Tim Andrews. The show consisted of both their paintings in separate sections, they were the only two artist. Personally, I’d say the show combined did not have a theme, but as separate it did. When I first stepped in the building, I was welcomed by greeters, the event coordinator and Riepenhoff’s paintings. Her painting’s made me think the overall event theme was about the beach and waves, but that was not the case. While I continued walking and observing the painting’s I was greeted into Mr. Andrews’s exhibit, which consisted of self-portraits. Both artist having paintings placed in the same space didn’t take away from one another’s paintings.

When people think about a museum most of them think about walking around starring at paintings they don’t understand and reading the little cards with their description. After a while they get tired of walking around long hallways and finally decide to leave. On the other hand, the Gallery One at the Cleveland Museum of Arts is more than just a museum, it’s a fun and innovative environment that how Alexander explained, “… the intention of Gallery One was to transform visitors into participants, rather than passive observers.” (2014). When people get their hands on the action they are most likely to have fun, learn, and build experience.

For this reason, participatory learning derives from the desire of the museum to engage a wider audience and create collaborative learning experiences for the visitor. Like at the Yuma museum, it can receive a great number of people and accomplish the same goal. The exhibits vary enough to allow for free range of the museum with experience triggered by the artifacts, interactive exhibits, and the sensors that trigger additional information in the courtyards. Each level of interaction informs the viewer and allows for the people to gain a collective experience

As an event planner of an art exhibition in my community, my focus would be to develop ways in which the community can participate in the exhibit and how the exhibition can benefit the community as a whole. Art exhibition attracts the members of the community to come together in an appreciation and awareness that fosters unity in the community. Experiencing art at the local community helps to reveal the character and identity of the neighborhood. It enriches the lives of the people as they come together and shares a public space, the interaction of shared thoughts how they feel about the art promotes positive bonding between family members, children and even strangers (Art in Public Places, n.d.).

After read the Part II of Collaboration in Theatre about working together to create musical theatre, I felt that I was overwhelmed by the charm of collaboration. To me, I considered that it was such a significant process not only to musical theatre creation but also to other disciplines and industries, including Supply Chain Management (SCM) – the specialty that I am majoring in.

The Victoria and Albert Museum created many different ways to interact with the visitors. First, they created their website to be easily navigated and created interactive exercises such as “Design a Wig” to promote their exhibitions. By visitors having fun with creating a wig, it builds anticipation on their visit and creates more reason to visit the museum. At the museum itself, visitors will be met with the Hands-On Exhibitions. The exhibitions allows the visitors to try on Victorian costumes, make a brass rubbing or a giant slider puzzle, try on armour gauntlet, design their own tea post, and more (). Through out the whole experience, the visitors are met with fun interactive activities that are not only geared toward children, but adults as well. At Science Museum London, they take pride in their own section of interactive exhibits. Launchpad, packed with over 50 interactive exhibits geared to ward 8-14 years old, is now closed as the museum prepares to open new Interactive Gallery. The new Interactive Gallery, 60% larger than Launchpad will engage all visitors in the drama and spectacle of math and science (). This change was done to better engage the adults, especially experience seeking millennials. One of Gen Y panel member from Millennial Marketing recalled that: “My best museum experiences were London Science Museum and Victoria & Albert. One common thing these both museums have is that they mange to interact with their visitors. Once you walked into the exhibition hall, you find yourself in some place like Wonderland. The interior design, interactive tools and toys are simply designed to create a magical experience. It is never boring. A magical land would never be boring.”

The crowd-sourced approaching way serves the prosperity of the art world because it promotes the establishment of the connection. The works of art is basically sharing the ideas between the artist and the audiences. The purpose

The National Gallery of Art (NGA) houses some of the most prolific art in the world. Around four million people visit the NGA each year to gaze upon the collection of close to 130,000 items on display making it the sixth most popular art museum in the world (Lowe, 2013). The amount of foot traffic experienced by the museum provides the ideal setting to observe people as they move about the museum. The purpose of this paper is to observe human behavior in a social setting. A location in the west building of the NGA was selected for its vantage point to observe people as they transitioned through the museum. People were studied for a time of twenty-five minutes and

Visit any major museum of art, at any given time, and one could find an abundance of monumental names listed on tiny plaques hanging next to even more recognizable works of art. The excitement felt by any art enthusiast when walking into these buildings of time and creation, is undeniable and especially unique. Could it be the atmosphere of the building, the presence of artwork, the people, possibly the grandeur of the space, or perhaps, could it be the spirit of the artists themselves, peering through the work they created?

According to the American Alliance of Museums, community engagement in museums includes the use of this facility as “a center where people gather to meet and converse and an active, visible player in civic life, a safe haven, and a trusted incubator of change” (Long 141). Different museums