learning report

Learning report

Word count: 1730

During the course of this module students were encouraged to research and engage with the various elements of curatorial roles within galleries and exhibitions. This included relationships between artist, space and audience as well as the placement and relationship between objects and art within a specified space. Analysing existing spaces within such galleries and exhibitions, and noting the successful and beneficial traits found, allows us to benefit in our future when dealing with curators and viewers with regard to our practice. The module overall has contributed to my awareness of galleries and spaces and has taught me how to engage thoroughly with works on display and more fully understand the way in which an audience "sees" work in a space. Also, I have become increasingly aware that the spacial factors contribute substantially to the understanding and interpretation of a piece of work, and in essence architecture and surroundings can become part of the work so it is incredibly important to ensure the correct balance between artist, space, curator, exhibition theme and audience.

Over the past few months I have visited a range of galleries and exhibitions including, Tate modern, The V&A, Tate britain, Birmingham museum and art gallery, The Ikon, The barber institute of fine arts, New art gallery Walsall, and Burghley house (an edwardian manor). I have also had my own work included in an exhibition in Worcester, visited commercial stores with an interest in visual merchandising, analysed the way in which we balance our homes in order to achieve a certain sense of 'something', and also taken note of the every day manner in which people arrange a space. 

Particularly, The new art gallery in walsall hosted an exhibition of national significance that I found especially interesting. Works from Chiharu Shiota seem to epitomise the Idea of merging work with a space. Her strung out web like woollen pieces, almost remap the architecture of a gallery, creating tunnels and pathways of negative and empty space which completely void any trace of the "white cube". The surrounding mass of string develops a moody and malevolent energy within what would normally be an unimpressive and stereotypical space. The bland and cold white walls of the new art gallery became a lair of metaphor in which audiences and the individual viewer became integral to the piece. The sheer size of  Shiotas expansive woollen lines puts the viewer in a particular frame of mind simply from being near the work. I found the use of space and her metaphorical pieces inspiring and ingenious as they created deep responses in myself and the others viewing them. The lower level of the new art gallery was dedicated to her work, and as they all seem to have this similar sense of themselves, the relationship between them was fascinating. However, the initial impact is not gained from the first installation, but actually from walking down the flight of stairs into the gallery in which it is hosted. The way in which a person feels as they descend stairs could be considered to feel dark and represent some sort of fall from grace, or as though entering the private areas of a building that are somehow 'off-limits'. Normally the staff areas and places of no entry to the public are featured on the lower levels as though subservient to those who enter above. So this exhibition to me, was thought out incredibly well. The nature of Shiotas work was only exaggerated by how curators used these lower levels. The overall plan of the architecture also contributed, as there are no doors to open, but we sort of 'float' through wide rectangular spaces that are planned out in such a way, that the next piece teases us a little showing just a glint of light or a shadow on the walls surrounding the current piece. 

Tate modern takes a different approach, seeming less regimented and organised than some other galleries such as the V&A, which I found surprising. The work was placed in a more "random" manner throughout the first floor, with work not being on any particular height. However, the way the art was placed throughout gave the gallery spaces overall a sense of balance, by hanging larger images more singularly, with numerous smaller pieces on the walls surrounding them. This gave a sense of evening out the weight and also the impact. The spaces therefore seemed more passive and lacked the drama felt from The new art gallery Walsall.

I believe that visiting such engaging spaces, such as these galleries, was the most useful and inspiring experience I gained during the module. With the  New art gallery walsall I found that the space and curation of the work clearly showed a personality and also the integrity and intentions of the artist were obviously maintained. This allows me to keep in mind that a piece of work can in fact consume a space, and use what can be interpreted initially as limiting surroundings as a positive element in an artists practice. Lighting, positioning and scale contribute massively to viewer interpretation, and by being creative with these elements we can transform almost any space. 

With regard to how viewers interpret work I came to some interesting conclusions; for example, a large piece, hung square at the end of a long room creates a sense of depth within the space and encourages a viewer to walk toward it, prioritising that piece as though it is 'head of the table' as it were. Equally, a very small piece of work, isolated in some manner develops curiosity in an individual, who naturally gets closer to engage with the work more thoroughly. On that note, I also noticed that visitors to galleries often behave a lot like sheep. If one person physically engages with a piece in a certain way, for some reason, everyone else will just simply follow suit without really considering why.

From these modes of presentation and the various ways in which one simple space can be transformed via creative methods of displaying work, I have generated and developed new Ideas in my own practice. For example I am currently incorporating the walls of the small studio space in a piece of work for the painting and image making module. I am creating new spaces within the white cube room by presenting my work in a manner that divides the room. I am also using lighting and audience interaction to create new ways of seeing and interpreting the work.

I discovered an article written by Lindsay Hughes, which discussed and explores the question "do we need new spaces for art as a means of deepening and expanding the viewers engagement with contemporary art?" Reading the article allowed me to examine the way in which white cube gallery spaces may be becoming increasingly redundant due to developing contemporary art styles and practices. In addition I began to view work differently whilst in the process of development; Students especially, seem to gear their work toward a manner of presentation and always have in mind the notion of hanging their work on white walls as though this has achieved some sort of success in their creative career. But in actual fact gearing work toward this white cube stereotype may have a detrimental effect on the work or at least become integral to it as the work will never exceed that idea. We may find that during the creative stages we do not try things out, as it may not be "presentable" in this style of gallery or manner, which then in turn leads to less experimental practices and a somewhat more shallow sense of development.

"A visit to other worlds", an essay by Mieke Bal also furthered my understanding of spaces and the way in which audiences move and reflect the energy of works. Bal makes an interesting observation that the works were installed not chronologically but imaginatively. This Is similar to the response gained from my visit to Tate Modern. The pieces shown in several of the rooms seemed more intuitively placed, as a way of creating balance than necessarily according to scale or a particular aesthetic code. 

I found the essay overall very helpful in its descriptions of the "Kasmia" and also the way in which Bal considers the space in terms of public movement and also the architectural properties and how they effect both the interpretation of a piece but also its limitations within a space.

After reading these pieces of writing I found myself viewing gallery spaces differently. I engaged with more factors such as visitor behaviour, size and shape of room, positioning of entrance and exits in contrast to pieces of work or themes running throughout. I found it particularly interesting to read that through the modernist movement and the 1960's, small groups of artists and curators began using unusual and unexpected sites to present work such as swimming pools, warehouses and shops. I would love to have experienced this first hand, and had the opportunity to be involved in such progressive thinking. I feel that in some way this would have developed a new passion for creating work that could utilise both its own content more widely but also its surroundings. The impression that this must have left on the public that was viewing the work, must have been substantial as it would have been so unusual and probably quite shocking. The notion that work can be presented in the "real world" would have made the art more accessible for joe public, who perhaps otherwise may not have felt invited into the cold and patronising world of the white cube gallery or museum. Much like the 'first' of anything, the first time curators and artists experimented with space, there must have been a real lunge forward in creative progression and thinking.

The upcoming student exhibition has a similar potential through the work having been created by students; fresh minds into the artistic world, there is the possibility of a new change and further progressive thinking and creation to be inspired by the works on show. Also, the students work is significant in terms of contemporary production as it is stemming from artists who are inspired mostly by contemporary culture and production. This constant growth and snowballing could at any point lead to a new movement, or notable progression in art styles and presentation. 

Two other worlds, by Mieke Bal. From: Art in America

A visit to other worlds:

An essay regarding two exhibitions by Eija-Liisa Ahtila. 

This write up regarding "two recent exhibitions by Eija-Liisa Ahtila" interested me as the work discussed is somewhat similar to my ongoing practice for independent study where I am using projection and space to show alternative and parallel visions of memory, value in time and life narrative and the psychology of memory etc.

"Ahtila is known for narrative, multiple screen video installations in which she presents the world from different viewpoints, implying parallel realities"

"scale, as well as architecture, changes meaning, focus and effect"

The article discusses how Mieke Bal visited exhibitions of Ahtilas "parallel worlds". Bal was "struck by the opportunities the Kasmia's extraordinary architecture offered Ahtila's work"
Bal then goes on to describe the building, "The building combines intimacy and grandeur, lucidity and mystery. Its spatially enigmatic rooms, shaped a half-elipses, decline the self-evident clarity of white-box galleries. While the KAsmia's size permits the grand sweep of a survey exhibition, it also provides opportunities for intimate viewing, something that Ahtila's installations require. The visitors movement from space to save, through the museums two long wings seemed to parallel the movement in the videos"
Bal makes an interesting observation that the works were installed not chronologically but imaginatively. This Is similar to the response gained from my visit to Tate Modern. The pieces shown in several of the rooms seemed more intuitively placed, as a way of creating balance than necessarily according to scale or a particular aesthetic code.

I found the essay overall very helpful in its descriptions of the "Kasmia" and also the way in which Bal considers the space in terms of public movement and also the architectural properties and how they effect both the interpretation of a piece but also its limitations within a space.

Tate modern, V&A etc London

The V&A:

Upon entering the gallery we are directed to the left immediately after walking through the main doors. The room is large, and dark, with a range of projections and up-lit work. The piece above was expansive and the image is taken from some distance away. Due to its size and motion, the piece makes an impact both on the viewer, and also on the space surrounding it. The circles and motifs seen static above, spin and move to a rhythm that spreads out in a sort of 'glow', breathing life into the rest of the room. 

The way pieces were up-lit in the space leant to a sense of drama as though involved in some kind of theatrical performance. Each piece working well in relation to the next, there was an ebb of energy in the room from the flow of light and the atmosphere created from the works curation.

I found this space (above) fascinating. Enormous paintings are suspended on the walls in a way which makes the room seem almost of a 'normal' size. In actual fact this space is impressively large. The arching ceiling and simple neutral colour create a sense f grandeur that is reflected in the imagery on display. This is a private collection and unfortunately I was not permitted to take any more images (ones that show detail of the paintings themselves) Benches sat in the middle of the space face away from each other encouraging audiences to remain quiet and observe/admire the works of art.

The presentation of this exhibition "The Modern Woman" interested me through the way the garments were held in a way that you would expect to see whilst 'window shopping' The pieces were held in a series of very large glass boxes much like shop windows. Mannequins positioned in such a way that the dresses and other women's clothing could be envisioned upon the person viewing them. I photographed myself in one of the mirrors to demonstrate how the audience or individual viewer is in some way involved in the presentation. The glossiness and reflective qualities of the glass give the impression of a clean and expensive space.

I found this 'casual space' really interesting. In the centre of the V&A this garden of sorts allows visitors to relax. (This reminds me of the article discussed by Lindsay Hughes) In the middle of a gallery that seems more formal (and somewhat up-tight at times) I was surprised to find this space. There was a lot of noise and children were playing in the shallow water. The people using the space seemed to have been given 'permission' to become more human than perhaps expected within the gallery spaces. After reading material that examines this I cannot help but think that this is enjoyable but somewhat patronising. A certain demure attitude is expected when around art as though it is of a higher intellectual standard however I am not convinced this is always the case. The content and metaphor/symbolism or a work to me outweighs the situational placement often enough. But perhaps this is down to my own tastes.

The space shown below held a collection of jewellery. The room itself gave me a shock of sorts when I saw it because for the V&A, (a seemingly very traditional gallery) this space seemed so modern and obscure. I felt as though I was walking into a night club when I saw the spiralling glass staircase which was lit up with intense purple and blue, and in some cases ultra-violet light. This light, bounces and reflects off of the rest of the room due to its massive use of glass. The glassy glossiness contributed to the interpretation of the pieces held as it set a scene of wealth, and preciousness before even viewing the jewellery.

Walking up the spiral staircase, maintains a sense of the traditional through its spiral, and also reminds me of walking up the tower of some grand building. This leads to our interpretation being somewhat guided and less distracted, and mentally 'blinded by the lights'.

Aged artefacts such as the swords above, have been presented in a manner of ways before but mostly in a glass box on some sort of heavy wooden plinth, this has previously balanced out the notions of preciousness and also age. This however leaves a juxtaposition that is new to me. The swords are held on transparent spikes that create the illusion that the swords are floating in this translucent cube of reflections and light. It is an incredibly modern and futuristic approach to displaying such objects that gave the pieces a new energy and life. 

Its hard to think that the expansive glass space with such intense and modern lighting stems off this traditional, and somewhat stuffy corridor. The contrast is massive, and in a way that use of traditional coming into such a contemporary space, creates the feeling of being punched in the face, or atleast shocked from its impact. To me this reflects the way we react sometimes when we see something shiny and beautiful though, we are blown away by the sense of preciousness and perhaps this is what curators were going for with the spaces. The room was actually like walking 'Into' a piece of breathtaking jewellery.

Tate Modern:

This gallery space was very busy and somewhat chaotic. This vibrant energy is reflected in the curation of the art works. An array of frame styles surround an eclectic selection of art. All pieces were positioned at different heights and this gave me the impression that the curator was going for a sense of aesthetic balance rather than an organised and rigid appearance.  The space overall is more cooky and casual than perhaps the V&A. There is something more friendly about it.

Shown above and below, Posterised and yet traditional images are placed around the room in groups that remind me of stamps or sticker books. There is a Pop-arty' feel to the space that is exaggerated by the use of colour in the works shown. 

The small blackened room sits in the corner of this poster like space enticing us to move toward it. It has a dramatic presence within such a light hearted "white cube".

I thoroughly enjoyed this space (shown above) and the way in which the images were placed in relation to the space, the viewer and each other. There was a real sense of continuity and balance with all images at eye height and spaced in small groups or individually. The cold polished concrete flooring against the white walls creates a cool and modern space which contributed to the perception of the contemporary landscape photographs. Just one bench sits in the middle of the gallery at a low level which allows the viewer to absorb the full impact of their surroundings. The space is quiet and still. which is reflected in the way the images are presented. They do not scream for attention, they just quietly wait for someone to show interest. 

The image above shows how when the public look through the gallery entrance/exit, the space internally is not disturbed in any way as the piece of work featured directly outside sits at the same level and height etc.

A sculptural piece that incorporates its surroundings in order to be presented 'correctly' Without the wall these long streches of metal would fall over unless dug into the ground, so this has been considered during the process of making. The artist has relied on the notion of the 'presenting wall'.                                            

Article: Do we need new spaces?

An article that examines the question: 
Do we need new spaces for art as a means of deepening and expanding the viewer’s engagement with contemporary art?

This article examines the way in which the "white cube" gallery space may be becoming  increasingly redundant due to contemporary art styles. Projections, performance, digital media and installation can challenge the ability of the stereotypical and traditional art presentation space.
Hughes discusses that during modernist movements through to the 1960s, and later revisited in the 1990's art began to adapt contemporary spaces such as swimming pools, shops, and warehouses, breaking away from the  "staid and dusty" - Hans Haacke museum. She then goes on to state that during this time a number of new movements grew such as pop art, fluxes and minimalism. All with alternative sitings.

"Many artists believed that by placing contemporary art within the museum it lost a sense of meaning and became part of the market. This led towards an escape of the contemporary art museum." 

The article then goes on to explore the effects of a deep dissatisfaction with the institution and the notions of a "gallery". Which led then to a change in thinking and practice. The term "space" became dominant and began to open up more range for interpretation in itself. There is no connotation attached to "space" as there is "gallery" which leaves more room for audience and viewer interpretation of a given work of art. The new sites and spaces could be said to have provided a new range of vision whilst being in a more relaxed setting perhaps. If this is a more relaxed setting, how did it change the impact of viewing art? 

The article then continues analysing the effects of space and art and the communicative properties of establishing new sites and presentation etc.

The article educated me in terms of movement verses its alignment with situational reconstruction and interpretation. I am aware now that non-gallery spaces such as Burghley house and its "sculpture gardens" effect the manner in which we take on work. Also, the art effects the space. An example of this can be found in most homes. The placement of an image and its content can effect the way in which guests to our house "feel" within a given space. My lounge for example is very neutral with images painted of Buddha's and also of warm toned lakes. This was intended to give a peaceful atmosphere which I feel was successful. My bathroom however has stark white walls on which I have black and white prints of Banksy's street art in heavy glossy black frames. 

For the Final Show module, students are having to consider the connotations of the placement of their work both on the space, and other pieces of work. This article has aided me in terms of understanding and contributes massively to the experience gained from the small exhibition practise session conducted during the module several weeks ago.

Text title/ref:

Journal of Visual Art Practice Volume 4 Number 1 © 2005 Intellect Ltd
Article. English Language. doi: 10.1386/jvap.4.1.29/1

Do we need new spaces for exhibiting contemporary art?
A critique of curatorial practice in relation to the viewer’s engagement with contemporary art
Lindsay Hughes 

Art for sale: Gallery

proposal

Final Show Proposal

The work I propose to exhibit in the "Final Show" Is a series of works created for a module in painting and image making. The work is inspired by the 1940's film The Red Shoes and explores the notions of feminism, psychology and colour in film and art, as well as the concerns of a modern day female struggling with identity. 

I have two pieces that I wish to exhibit; one being an installation piece using projected film and fabric to create a space and environment for the viewer to become immersed in. This would require full use of the dark space. The other, is a series of six 1.5m squared canvases that ideally would be placed around four walls of one of the studios, or placed in a row along one of the longer (perhaps the back wall) wall spaces in the large studio.

My installation piece would take approximately 5 hours to set up including placement of projectors and hanging of all fabric elements. The sound element of the piece would have to be finalised in terms of volume etc at the time. I have included several photographs below that give a basic idea of how the space would be set up. However, this has been done on a smaller scale to date. 

Essentially what is going on in this installation is there are layers of sheer fabric hanging from floor to ceiling. upon which several variations of edited dance and death scenes from The Red Shoes are being played. By doing this I am making use of the ready made and highlighting the importance in the mechanics of film and its use of colour. The image above shows two or so fabric projections where in the "final show" I would have around 20 in the large dark space. Visitors would be encouraged to walk through the space experiencing the various angles and repeated imagery from the projections, and as they move through the space this would interfere with the surfaces and projections exploring the importance of movement. The fabric used is a sort of organza which is a direct reference to both the film and the main character's clothing, and with being a material commonly used in dress making and wedding dress design, this explores concerns regarding female roles in society, relationships and general life. 

Birmingham museum and art gallery

Birmingham Museum and Art Gallery

This sculptural piece is a reconstruction made from Epstein's studio photographs of an original piece constructed in 1913. The piece stands proudly, dominating the space. It comes across as somewhat intimidating, as though riding a weapon toward you as you enter through the glass double doors. The work sits on a triangular plinth which raises the work by around 14 inches and sits in the centre of the spaces width.  

The above work by Christopher Richard Wynne Nevinson depicts an army of soldiers marching as a "war-machine" where the individual is no longer considered. 

In combination with the Epstein work, The room begins to take on a cold and mechanical, view on death and war. As a group of art works, there is an overall theme of fear and loss, and a machine like approach to cold killing.

I feel the cold, flat blue an appropriate choice of colour for the room as it contributes to the emotionally cold perception of the art. From this angle, looking back into the space I can see spotlights hovering above head, they shine down into the space directly above Epstein's sculpture which creates an alien and equally cold perception of the space once more.
Also, you can see clearly that all images have been hung with their central point at average eye height. This creates a sense of uniformity and balance also in keeping with the theme.
Comfort is not key in the space with only one cold hard bench to sit on. Generally the security officer seems to be sat here, which in a way intimidates you from its use. I did not feel comfortable with the idea of invading someone's personal space, especially when that person is an authority figure. Again this contributes to the cold perception of the exhibition.

This room within the gallery embodies an entirely different feeling. The warm orange walls glow and light up the pieces hung upon them softly. The space is inviting and homely. Two sculptures stand as a gateway to the rear, which develops a sense of grandeur within the space as we associate this with wealth and culture. The space overall is very well thought out and balanced through a varying positioning of work. The dimensions of the pieces dictate their height and gauge within the room by balancing out the weightiness of larger works with numerous smaller ones, in addition they are hung this way in height also, there is no fixed line upon which they are suspended. The bench in the centre has a back and soft pillow which makes it both inviting and comfortable. The bench encourages the viewer to take a seat and feel comfort within the space. 

A work stemming from New Art West Midlands. This sits central in the space and as you walk through a square cut out within the supporting wall in the gallery, the room seems chopped off by this dividing wall covered mostly in a sort of wallpaper cerated by graduate student (name?) three masks which she wears accompanied with three wigs (pictured and shown on a wall to the left of this dividing wall) consider her partially oriental heritage. The way in which the paper hangs warped and is held flat/straight only by its own gravity is somewhat surprising and I'm not sure I understand it. I feel that this paper would have looked better flush to the wall. However, In pictures the paper almost looks more like material, that could reference drapes and the extravagant materials of the orient. Perhaps this was the intention for viewers in the space but was not achieved. 

The three plinths reflect the three images taken and create a sense of balance with the central plinth set forward creating a triangular field of view across the piece.

Ikon

Just outside the doors of the Ikon this sculptural piece creates an architectural space that we are encouraged to walk through in order to enter the main gallery space. To me It resembles a piece of cheese, whether that was ever intended I doubt it. The nude stone reflects the buildings that surround us as well as the main architecture of the Ikon.

The Ikon emblem glows from within a cave like space, dark and moody. This is stark in contrast to the rest of the gallery space which is bright and open. The individual dot-lights that create the text are balanced by the stone sculpture wall outside with its punched holes. When you take a step back and view the Ikon logo, through the wall, you see small warm coloured light peering through. 

Information on Michel Francois' works on show at the Ikon currently. 

ref: http://ikon-gallery.org/event/michel-francois/

"Ikon presents the first UK survey of work by Belgian artist Michel François, comprising sculpture, film and photography. It exemplifies the artist’s conviction that the meanings of a work of art are determined through its combination with others in relation to an exhibition space. Visitors to Ikon encounter numerous pieces to be read as a whole, integrated with the entire building.

The exhibition title, Pieces of evidence, refers to François’ fascination with a netherworld, drawing comparisons between the ingenuity of artists and criminals. The key installation here involves a projected film in which we see the hands of a magician skilfully examining everyday objects – drinks cans, cosmetic bottles – before revealing hidden compartments and illegal substances within. The objects themselves are exhibited in vitrines nearby. Another work, Stumbling Block II (Wall) (1989), is a large rectangular block of polystyrene secured to the wall with strips of brown tape, a sculptural translation of a convicted smuggler’s failed attempt to conceal drugs by strapping them across their body. An art object is likened to contraband.

The idea of crossing international frontiers – illegally or otherwise – is conveyed by Surveying(1993), a video of an inchworm walking over a map of the world. This funny creature signifies the artist’s free spirit with respect to art as much as his geographical itinerancy, a kind of energy that spurs us to keep moving, keep looking, and keep asking questions. Likewise,Golden Cage 1 (2008–2009), considers the notion of frontiers. A large free-standing steel box, from which A4-sized sections have been uniformly cut, it is a structure on the verge of collapse. It is a cage with walls thatresemble the gilded left-overs of a manufacturing process, with cut out shapes scattered within. François presents this work as symbolic of human migration across the Mexican/US border, the hollow dreams of finding a better place, the cage being desirable in a way that its contents are not.

A further work, Self-Portrait Against Nature (2002), shows the artist, seen from above, walking around on a hard concrete floor and smoking while empty wine bottles drop and smash around him. It suggests a kind of solitude and self-destructiveness that throw any hints of joy into sharp relief. Broken Neon Lights (2003), has a similar edginess as François stamps his feet through a path of neon tubes, laid widthways, resulting in lots more broken glass. The action is transgressive and the feeling one of anger.

The exhibition is accompanied by a new publication featuring a text by writer and critic Martin Herbert."

Further Images taken from my visit:

This work reminded me somewhat of Chiharu Shiota's memory installations. The balance of magnetic elements is fragile and circumstantial. If a visitor was to force a piece out of balance the surrounding areas would collapse. This intricate balance creates a sharp and precise sensation within the space. The piece feels mathematical and challenges us to view the physics of the piece. The large square frame reflects the shape and dimensions of the room and creates a walkway around itself through its perfectly central placement. This encourages the viewer to walk the full way around the piece, taking it in from all angles.

this large scale piece again reflects the shape and dimensions of the space, as though created specifically for this room. From the textured black ground small cacti protrude upward surrounded by what appears to be an explosion of gold monkey nuts. Toward the far end of the piece a large block of glass sits in a manner that provokes the image of a melting Ice cube. The message in the piece is unclear to me and there was no write up to inform us of its purpose or meaning. However, in combination with its surrounding canvases, of which there were 5 displayed on the walls a space was created that seemed to stretch on and outward beyond the walls of the gallery. They appeared like windows into a black desert. As we see the floor work as the closer space. 

This intrigued me, as the use of space becomes integral to that reception of the work.