The Gallery, By Artist Joan Ryan And Destroy Delete Transform By Andrea Burgay. R. Gallery

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 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.

It is no doubt Art Gallery sounds boring because a lot of people do not understand nor enjoys art, but Queensland Art Gallery, Gallery of Modern Art (QAGOMA) is starting to change people’s attitudes towards Art Gallery with their hands on and digital technology activities. To turn a boring gallery trip to an enjoyable, fun and informative for children, adults and tourists are becoming a possible reality in QAGOMA.

When visiting an exhibit space one of the first things a viewer sees is the area that the works are exhibited in. There is more to exhibiting a work in a space than just putting in the room and expecting that to be satisfactory. Lighting, walls, art placement, viewer interaction and many more are an important park of how successful an exhibit can be.

He started his article, “How African-American Artists Fought to Diversify Museums”, with an overview of the history of the issue. The article stated the importance of the initial attempts to mollify black artists and how the attempts sparked more outrage by displaying the blatant disproportion of diversity. It concluded that all of these events built up and provoked a movement to include more art as seen to this day. It focuses on how museums are still guilty of conforming to social and political views, as seen by the types of art displayed and who created them. The article then turns into an interview with author, Susan Cahan, to discuss political influences in museums throughout history and what effect it has on the art world today concerning black artists. Unlike the New York Times article, this story went into excessive detail of how the movement to include more African American artists started and the progress that has been achieved throughout the years. It granted the reader a more thorough understanding about the movement and why it has been (and still is) a serious issue today. The comparisons it brings up from the very first attempt to include black artists in an exhibit—“Harlem on My Mind”—to the exhibits today document the remarkable progress made as well as the excessive amount of protesting that accompanied it. Both articles were great sources of information for people looking into the history of black artists exhibition, but the critical difference between the two was the tone: the first article viewing the situation to be long-overdue but hopeful, while the second article spoke of the situation from the perspective of an author who felt the museums should be ashamed of their lack of effort throughout the

I visited an art gallery for the third time in my life but this time things were way different. Because in my head I knew I was going there just for my class but as I walked down the San Marco streets on October 7’th to find “The Vault 1930 Art Gallery,” as I walked in Jim Carr welcomed me with a big smile it was like I stepped into another world. I was amazed that I lived in Jacksonville for eleven years and never realized that the city holds a beautiful art gallery like this. As I started to make my way around the 5 roomed gallery, with Mr.Carr’s guidance and observe the different artwork I noticed that the majority of art was on the floor because of the sizes of the portraits that were giving a better vintage look for the gallery. As I looked around there were many pieces that grabbed my attention but one of my three

Miami’s lone free private art collection, The de la Cruz Collection Contemporary Art Space, is hosted by Rosa and Carlos de la Cruz. The two hope to make Miami an Intellectual Art Capital. In a 30, 000 square foot warehoused in the Design District, the de la Cruz Contemporary Art Space assembles a pre-eminent collection of new art, with contemporary paintings, stunning sculptures, and installations by the most desirable and respect names of the new

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.

The detrimental effects of the predominance of experiences have flooded over into the production of the arts as well. In opposition to a time when artists’ voices were given a great amount of power in shaping the society and when art acquired a decisive political role, the deepening capitalist relations have replaced the role of artists to one that serves a group of people that is more and more exclusive, less and less diverse. Arts and culture on the Bowery now caters to the elites, a class that treats the area as an entertainment destination filled with a series of shopping adventures. In other words, artists and art on the Bowery are suppressed from addressing the politics of inequality and are instead expected to meet the needs of those who buy in the exchange of its survival. If they fail to do so, they are just as likely to be forced out of the area looking for another location to settle. The handful of galleries that managed to survive on the main stretch of the Bowery like Sperone Westwater, Soho Contemporary Art, and Westwood Gallery supports such claim. With a roster of established artists like Bruce Nauman, Andy Warhol, Robert Rauschenberg, and Jean-Michel Basquiat, it is clear that there is no ground for local artists who do not fit within the mainstream market, whose subject

Formal commercial arts entities are not sustainable forms of business in this area. Due to the significant distances between arts centers and existent lack of awareness and knowledge regarding the value of art, this Mid-Hudson Valley has reinvented many approaches and uses of

I went to Lincoln Land Community College’s gallery. The name of the show was “Sarah Smelser: Questions we ask each other.” Sarah Smelser was the only artist at Lincoln Land Community College’s gallery on March 16th. My initial reaction to the set of the show was that it is very simple and modern. Sarah’s work engaged me when I walked in the door, because I instantly wanted to see what kind of art was on the display walls. There was only art hanging on the walls; nothing was out on the floor for display. When I went there were only a few people there. I did not feel over-whelmed when I walked into the gallery room, because it was not cluttered.

Art galleries and museums are buildings or spaces used exclusively for the exhibition and education of art, but that’s not all. Galleries and museums are an essential part of our society. Art in itself transcends cultural diversity and differences; the museums and galleries that display art present to us insight into the various cultures, backgrounds, and communities in an unprejudiced environment. They also provide a significant impact on local and state economics. According to the 2007 Americans for the Arts report Arts & Economic Prosperity III, In Nashville alone the art and culture industry provides 5,667 full-time jobs and generates 15.64 million in local and state government revenue. With so much riding on the prosperity of such

This gallery is a bit different compared to the traditional art galleries because it focuses more on contemporary and vintage photojournalism of historic pictures, mostly from the 20th century, that tells a story about society from the past by established and new artists.

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).

“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.