Exploring the Experience of Contemporary Dance Practices in the Context of Global Art Choreography in the Museum Space

2021 ◽  
Vol 14 (4) ◽  
pp. 1-6
Author(s):  
Tatiana V. Portnova
Keyword(s):  
Art Museum ◽  
Art Museums ◽  
Contemporary Dance ◽  
Complex Inclusion ◽  
Exhibition Space ◽  
Interior Spaces ◽  
Modern Experience ◽  
Global Art ◽  
Regular Classes ◽  
Communicative Space

The purpose of the article is to examine modern projects in the field of choreography, interconnected with art museums that open doors for choreographers and together embody creative ideas. It is this creative, largely subjective, controversial dialogue between the museum and dance, accompanied by comments of art historians, choreographers, and artists, that gets its meaning in the presented material. The novelty of the study lies in assessing the main directions of choreographic activity, which can be mutually transformed so that the museum and dance function successfully in modern conditions and build a new communicative space with the audience. Through a creative analysis of the modern experience of dance practices, it is possible to discover the principles and trends that are destined to breathe new life into the museum space. The considered examples of organising a museum space with theatrical and plastic direction interacting with it clearly demonstrate that modern visual strategies, associated primarily with its interactive substance, affect the communicative and exhibition space of the museum in different ways. A choreographic performance was analysed as part of a diverse event taking place on the territory of the cultural and historical museum complex; inclusion of dance in the dynamics of the halls of the interior spaces of the museum; entry of a choreographic performance, theatrical actions into the exhibition space of expositions; the museum itself inviting artists, choreographic schools and studios to conduct regular classes and masterclasses within the walls of the museum to popularise its collections, and other examples of forms of interaction between the art of dance and the art museum.

scholarly journals Værktøjskasse til atmosfæriske kunstrum. Atmosfære-fænomenets potentiale i ny udstillingspraksis

1970 ◽  
pp. 82-99
Author(s):  
Line Brædder
Keyword(s):  
Art Museum ◽  
Art Museums ◽  
Art Exhibition ◽  
Visual Mode ◽  
The Past ◽  
Exhibition Space ◽  
The Relationship ◽  
Individual Objects

This paper argues that intense atmospheres hold potentials in the art exhibition space, even though implementation at art museums seems challenging in different ways. Therefore, the paper aims at contributing to an operative analytical terminology and exhibit cases useful for art exhibition practices that want to focus on atmospheric experiences. To showcase how atmospheres are formed and affect us, this paper uses theory mainly founded in phenomenology and explores the relationship between atmosphere, exhibition spaces of the past, and phenomena as aura, affect, and presence effects. These are considered elements in a “toolbox”, arguing that multisensory elements, engaging the visitor as co-creator, and focusing on the exhibition as a unit instead of a space for individual objects can be effective when working with atmospheric exhibitions. The results of the examinations of this paper also points to the potentials of welcoming dissolutions, uncanny disturbances, metonymies, anecdotes, non-logical gut-feeling and a baroque visual mode of expression in order to highlight the elements that are effective in the art museum.

scholarly journals Collecting Pandemic Phenomena: Reflections on Rapid Response Collecting and the Art Museum

Collections ◽  
2021 ◽  
pp. 155019062098084
Author(s):  
Sandro Debono
Keyword(s):  
21St Century ◽  
Art Museum ◽  
Art Museums ◽  
Rapid Response ◽  
Early Years ◽  
Future Generations ◽  
Specific Context ◽  
Development Methodology ◽  
Works Of Art ◽  
Potential Use

Rapid Response Collecting has been a most apt methodology with which to document the COVID-19 pandemic for an increasing number of museums. As the phenomenon unfolded across the globe, museums searched for and head-hunted the truth-revealing objects that could tell the stories and histories of the present to current and future generations. Indeed, the COVID-19 pandemic took Rapid Response Collecting to a higher level. A methodology originally conceived for a sporadic phenomenon happening within a specific context during the early years of the 21st century gained much more traction almost overnight. This paper shall make a case for a better understanding of the potential use and application of Rapid Response Collecting by art museums. It shall look into the defining values of this collections development methodology and how these can be applied and adopted when acquiring works of art. In doing so, it shall seek to understand to what extent the mainstream version of Rapid Response Collecting can be adapted for the needs, purposes and requirements of the art museum.

scholarly journals A Study of Anecdotal Student Response to Virtual Art Museums in Online History Courses

2021 ◽  
Vol 1 (1) ◽  
Author(s):  
Adam Attwood
Keyword(s):  
United States ◽  
Community College ◽  
Student Engagement ◽  
Online Discussion ◽  
Art Museum ◽  
Art Museums ◽  
Student Response ◽  
Online Instructors ◽  
Course Content

This anecdotal pilot case study of practice addresses the question: How can technology be used to make online history courses more engaging with museums? Findings from this case study suggest that virtual art museums via the Google Cultural Institute (now Google Arts & Culture) were an effective way to encourage students to do more than the minimum required for the online forum response assignment in a survey (100-level) history course at a community college in the northwest United States. The instructor designed an assignment that was posted in the learning management system as a PDF. Implications for practice are that online instructors of history, as well as online instructors of humanities, can assign virtual art museum visits with an online discussion component to encourage student engagement centered on course content.

scholarly journals Reshaping exhibition and museum design through digital technologies: a multimodal approach

2009 ◽  
Vol 8 (3) ◽  
pp. 25-31 ◽  
Author(s):  
Marco Borsotti ◽  
Letizia Bollini
Keyword(s):  
Interior Design ◽  
Design Research ◽  
Exhibition Design ◽  
Multimodal Approach ◽  
Exhibition Space ◽  
Interior Spaces ◽  
Planning Approach ◽  
Museum Design ◽  
Contemporary Architecture ◽  
Social Landscapes

Exhibition design as preferential research framework in redefining interior spaces value-ratio in contemporary architecture debate: the merging end integration approach introduced by communication and performative exhibition practices is redesigning culturally and physically the pre-existing spaces. Exhibition design research innovative carrying out planning approach for changing strategies simultaneity knowledge spreading. In this way it became the most interesting and topical interior design project act, able to translate performing spaces into crossing experience built also with meanings dissemination and "surfing" knowledge method. The exhibition design direction is a different tool to control and develop multimodal approach to interior territories whose outcome fit to new social landscapes The Installation of an exhibition space meaning is now coming into sight as work-in-progress multi-disciplinary range, increasingly complex. The experiential element (whom exponential use of digital solution is just an exterior consequence) will increasing more and more and will bring to ostensive solutions development looking to new classifying parameters capable in enclosing several simultaneous organizing relationships. These parameters represents many super-structural rationalization process aptitudes that draw close true courses and imaginary tours, into complex changeable landscapes where raise to the surface place, objects and viewers sense and myths, made by production act, supervising to thoughts and actions as independent and symbiotic designer and visitor condition.

scholarly journals Where flesh meets bone: dance in the modern art museum

2021 ◽  
Author(s):  
Erin Joelle McCurdy
Keyword(s):  
New York ◽  
Modern Art ◽  
Theoretical Framework ◽  
Art Museum ◽  
Art Museums ◽  
The Public ◽  
Liminal Spaces ◽  
High Profile ◽  
Tate Modern ◽  
Definition Of

Dance has recently taken up an increasing presence in major modern art museums as core curatorial programming, occupying galleries throughout exhibition hours. Although time figures prominently in emerging literature addressing this trend, spatial analyses remain fragmentary. Yet, dance is distinctive from other time-based media because of its heightened relationship with space. This raises an important question: how does dance’s newfound presence ‘re-choreograph’ the spaces of modern art museums? Extending the work of Henri Lefebvre, this dissertation adopts an expanded definition of museum space encompassing physical, social and conceptual domains. Dance, an art concerned with the shaping of space, is examined as a transformative force, productively intervening with the galleries, encounters, objects, and historical narratives comprising modern art museum space. In this study, purity and atemporality are identified as the preeminent principles organizing modern art museum space, and dance, an ‘impure’ and process-based art, is theorized as a productive contaminant, catalyzing change. Using this theoretical framework and Using this theoretical framework and evocative descriptions of Boris Charmatz’s 20 Dancers for the XX Century (Museum of Modern Art, New York, 18-20 October 2013), dance’s unique collaboration with modern art museum space is analyzed. Socially, dance’s multisensuality pollutes museum goers’ ocularcentric experiences with art. Conceptually, dance diversifies understandings of objects and the androcentric history they uphold. Physically, dance is carving out new spaces, with performance venues being incorporated into the ‘bones’ of high profile institutions. Interspersed between these analytical chapters, evocative descriptions of Spatial Confessions (On the Question of Instituting the Public) by Bojana Cvejić and collaborators (Tate Modern, London, 21-24 May 2014) introduce observations beyond the analytical scope, opening up the liminal spaces of this document to ongoing inquiry. This dissertation contributes a sustained analysis of dance’s spatial impact on modern art museums. By investigating how dance intervenes with the limitations of the white cube, it critiques this supposedly ‘blank’ space, questioning its continued supremacy within these institutions. Moreover, as dance is ushered into performance venues within the museum’s expanding domain, this dissertation interrogates the modern propensity for specialization and master narratives pervading the spaces of these institutions, despite decades of interventional artistic and curatorial practices.

scholarly journals The School Teacher and the Art Museum: A Multi- Case Study of Online Canadian Art Museum Teacher Resources | L’enseignant scolaire et le musée des beaux-arts : une étude de cas multiples des ressources en ligne des musées des beaux-arts pour les enseignants

2017 ◽  
Vol 44 (1) ◽  
pp. 36-46
Author(s):  
Julie Etheridge
Keyword(s):  
Online Teaching ◽  
School Teacher ◽  
High School Teacher ◽  
Art Museum ◽  
Art Museums ◽  
Online Resources ◽  
Teaching Resources ◽  
Teacher Resources ◽  
Canadian Art ◽  
Teacher Researcher

Abstract: This study seeks to better understand the online resources and lesson contents that Canadian art museums offer secondary school art teachers. The author conducted a content analysis of online teacher resources and lessons developed by four Canadian art museums during 2016. By looking at the various resources through the lens of a high school teacher/researcher, the author highlighted how these resources presented differences in curriculum and fostered self-reflection in students. The relationship between the art museum and the school teacher was examined. To better understand this relationship, further research on online resources developed by museums to increase pedagogical possibilities should be conducted.Key Words: Teacher; Museum; Online Teaching Resources; Art EducationRésumé : Cette étude vise une meilleure compréhension du contenu des leçons et des ressources en ligne mises à la disposition des éducateurs artistiques du secondaire par les musées des beaux-arts canadiens. L’auteur a analysé le contenu des ressources et des leçons en ligne offertes aux enseignants en 2016 par quatre musées des beaux-arts canadiens. En examinant les diverses ressources du point de vue d’un enseignant/chercheur au secondaire, l’auteur met en évidence les différences curriculaires de ces ressources et l’autoréflexion suscitée par ces ressources chez les étudiants. La relation entre le musée des beaux-arts et l’enseignant scolaire y est également étudiée. Il faudrait, pour mieux comprendre cette relation, mener d’autres recherches sur les ressources en ligne développées par les musées dans le but d’élargir l’éventail pédagogique.Mots-clés : enseignant; musée; ressources en ligne; éducation artistique

Decolonizing the Colony: Challenges to Systemic Change in the American Art Museum

2021 ◽  
Vol 10 (2) ◽  
pp. 202-229
Author(s):  
Andrew Mcclellan
Keyword(s):  
Social Justice ◽  
White Supremacy ◽  
Systemic Change ◽  
American Art ◽  
Art Museum ◽  
Art Museums ◽  
The Face ◽  
Physical Spaces

This article seeks to identify impediments to, as well as opportunities for, change in American art museums in the face of demands for social justice and greater inclusivity. Focusing specifically on the representation of American art in well-established encyclopaedic museums, I argue that inherited collections and taxonomies, mapped onto the physical spaces of museums, limit the speed and degree to which aesthetic priorities, values and narratives may adapt in order to meet shifting demographics and visitor expectations. In effect, the challenge for many museums is to confront and navigate an institutionalized form of white supremacy baked into their intellectual and material foundations. I end by analysing several recent strategies that have aimed at dismantling conventions and complicating the canon.

scholarly journals Art museums and the incorporation of virtual reality: Examining the impact of VR on spatial and social norms

2020 ◽  
Vol 26 (5-6) ◽  
pp. 1159-1173 ◽  
Author(s):  
Eryn Parker ◽  
Michael Saker
Keyword(s):  
Virtual Reality ◽  
Social Norms ◽  
Social Space ◽  
Art Museum ◽  
Art Museums ◽  
Original Research ◽  
Structured Interviews ◽  
Digital Space ◽  
Physical Setting ◽  
The Impact

Art museums implicate established spatial and social norms. The norms that shape these behaviours are not fixed, but rather subject to change as the sociality and physicality of these spaces continues to develop. In recent years, the re-emergence of virtual reality (VR) has led to this technology being incorporated into art museums in the form of VR-based exhibits. While a growing body of research now explores the various applications, uses and effects of VR, there is a notable dearth of studies examining the impact VR might be having on the spatial and social experience of art museums. This article, therefore, reports on an original research project designed to address these concerns. The project was conducted at Anise Gallery in London, United Kingdom, between June and July 2018 and focused on the multisensory, and VR-based, exhibition, Scents of Shad Thames. The research involved 19 semi-structured interviews with participants who had just experienced this exhibition. Drawing on scholarly literature that surrounds the spatial and social norms pertaining to art museums, this study advances along three lines. First, the research explores whether the inclusion of VR might alter the practice of people watching, which is endemic of this setting. Second, the research explores whether established ways of navigating the physical setting of art museums might influence how users approach the digital space of VR. Third, the research examines whether the incorporation of VR might produce a qualitatively different experience of the art museum as a shared social space.

scholarly journals Wall texts in collection exhibitions. Bastions of enlightenment and interfaces for experience

1970 ◽  
pp. 39-50
Author(s):  
Palmyre Pierroux ◽  
Anne Christiansen Qvale
Keyword(s):  
Art Museum ◽  
Art Museums ◽  
National Museum ◽  
The Core ◽  
Communication Practices ◽  
Media And Communication ◽  
Point Of Departure

Taking the wall text in art museums as point of departure, this article investigates developments in museum media and communication practices in the exhibition room. We first present findings from a recent study of types and functions of wall texts used in permanent collection exhibitions in twelve Norwegian art museums, including a national museum of art. We then examine the types and functions of wall texts being planned and designed for the collection exhibitions in a new building for this national art museum, which will open in 2020. In our analytical focus on the wall text, we unpack how perspectives on enlightenment and experience become institutionally embedded in the interface of interpretive media. The study showed small but significant changes in a national art museum’s organization, a new blended approach to digital interpretive media, and expanded types of wall texts, illustrating the premise that discursive and practical tensions between enlightenment and experience are at the core of new practices emerging in museums.

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