marinamitchellblog - Tumblr blog

marinamitchellblog · 5 years ago

Text

WEEK 3 REPOST

RESPOSTING WITHOUT IMAGES AS HAD SEXUAL CONTENT AND DIDNT MEET COMMUNITY GUIDELINES :( The Museum of Innocence Objects, Souvenirs, Collections: beginning to make meaning with things and places. overall theme/idea(s)im thinking of looking into: sexual energies, erotic paintings, sex art and commitment, sex positive ,fluid worlds, visibilty, interconnection of art sex and science, sex and psychedelics, Sexual Intimacy and Its Connection with Aural Energy ,beyond the binary,sexual edcuation approach,form, Imagine you could bring any 5 (or 6 or 7) things together, to tell a story, to make a point, to illuminate a concept, to reveal an insight, to offer a portrait…What might those things be? 1. Louise Bourgeois Cuml l 1969 marble on wood base place on floor to be viewed from above clouds; not this intent but entangled with metaphors of male and female body parts that are simultaneously abstract and descriptive. breasts and penises emerging from a rippling fabric appealing and disturbing reveal and conceal 2.I would love to see a Tracey Emin installation as part of my exhibition more specifically her text pieces situation of a large wall really setting the mood and tying the ideas of the exhibition together. Something your guided to first .big fan of her white neon light text atop of a white wall. clean ,minimal 3.lynda benglis about her :https://www.youtube.com/watch?v=2Kh23bD2-xw&app=desktop her works shocked back them but do they shock now ? provocative feminist icon your body and my body colour importance https://www.youtube.com/watch?v=kzPiwBKwdhk Two women, faces framed in tight focus, kiss and caress. Their interaction is silent, muted by Benglis' superimposition of a noisy, distracting soundtrack of appropriated AM radio: bawdy wisecracks of talk-show hosts and male callers, interacting in the gruff terms of normative toss up between screening the video piece or this particular photograph.(lifesized) body representational of gender fluidity untitled 4.Robert Gober untitled 1990 the made body,made vulnerable gender fluidity 5.Malcom Liepke the nonsensical idea that sex is something a woman gives a man, and she loses something when she does that encourage girls to see sexuality's as something they own What connections are being made? non censored bringing together artists to explore themes of sexuality and gender fludity creating a safe space for open conversations constructing and coming out How do different juxtapositions make + change meaning? sex positive environment in a different context Louise's works would perhaps not come across so sexually charged and identifiable. all have similar context and meaning to begin with as I chose works that adress and work with same topics just with different media and processes. begin to ask myself where this collection may best be understood? Lyndas more colorful works would stand out against the mentioned works so far, challeneged .confrontational. Does this change how viewer reads the overall? further research: inspiring artists: gustav klimt ,pablo picasso, Robert Mapplethorpe,Florian Hetz, Louise BourgeoisLa Fillette, 1968 / Avanza / Janus Fleuris, 1968 “sex work is art work. i love cuntemporary art <3 “ https://happymag.tv/heres-the-artist-people-listen-to-most-whilst-having-sex-according-to-study/ sound audio of exhibition to be considered https://www.elitedaily.com/entertainment/twin-artists-paint-stills-kim-kardashians-sex-tape/1574570 why great sex is an art form = what makes sex simply a physical act, and what makes it transcendent? Bad sex, or mediocre sex? mechanical exercise involving body parts, forgotten as soon as it’s over. disconnected,cliche,erotic improv, tracey emin(young british artists) reflection of own desires the female imprint on the genre of sex nancy nan goldin -themes of violence sex and drugs sexual dependency private vs public life UNTITLED Lynda Benglis 1974 parodying stereotypical gender roles, UNTITLED Robert Gober 1991 gahee park https://www.dazeddigital.com/artsandculture/article/30097/1/the-makers-of-this-sex-painting-kit-talk-bodies-and-art using the body as a tool and sex as a method to create painted piece brandon herman abject art- describes a body of work which incorporates or suggests abject materials, such as dirt, hair, excrement, dead animals, menstrual blood, and rotting food in order to confront taboo issues of gender and sexuality potentially curate a exhibition of abject art rather than traditional contemporary as it better fits themes I love exploring looking at exclusively abject art would also help have some cohesiveness to an exhibit but this is all still hypothetical. mixed multimedia This weeks texts/readings: museum of innocence Açalya Allmer offers a perceptive history of the Museum of Innocence, and the complex, meta-fictional relationship between Orhan Pamuk and his fictional characters, within the changing social and cultural context of 20th century Istanbul. obsessive collector meet fictional exhibition architecture and narrative of art collecting acquired objects before describing them in the novel and sometimes he found an object by chance after he had written about it instead of building his collection ‘in an atmosphere of clandestineness and concealment, of secrecy and sequestration, which in every way suggests a feeling of guilt only 50 people at a time so everyone can see unlike the great exhibtion how days were so busy you couldnt really view much new organisation was necessary for visitor circulation childlike modes of acquisition, from touching things to giving them names regards collecting as a tempered mode of sexual perversion ‘ We are attached to objects because of the experiences, joys or feelings of security, of happiness, of friendship, whatever we may enjoy in life, because we relate these emotions to corresponding objects. My protagonist is deeply in love, I would say infatuated, with Füsun; he had enjoyed immense happiness. Now, in order to preserve this, or relive this, he gets close to her and collects objects that remind him of those moments. I strongly believe that we collect objects because they make us remember our good moments.” pamuk interview relationship between history and space The reader of the novel visualizes the grater in his or her mind, actually creating each object in his or her unique vivid imagination. In the actual museum, however, the grater becomes a tangible, objective reality. When the reader sees the ‘real’ object in the actual museum, their dynamic and active imagination is then stilled or frozen. what happens if the display differs from imagination? what happens if the museum visitor has not read the novel ticket in the book to encourage people to read and get free entry two different entireties and experiences novel= not an explanation of the museum Susan Stewart,On Longing: looks at the nature of the souvenir, and the collection, considering the emotional and philosophic of the thing, and its accumulation. objects of desire body as a primary mode of receiving body and world experienced and imagined articulate and delimit each other authentic experience measurement for the normal and authenticates the experience of the viewer cultural codes domesticates the grotesque the souvenir by definition is always incomplete narrative of origins- interiority and authenticity sites and attractions are collected by societies but souvenirs are collected by individuals tourists distance and intimacy authenticate and distance past whilst discredit present present too alienating and not intimate directly lived antique as souvenir always carries the burden of nostalgia of which cannot be sustained without loss separation and restoration childhood cold/warm narrative used to invent the symbolic ownerships keeping body and soul together fetishstic value defined by intrinsic value values of consumer culture Anthropologist James Clifford offers a critique of a 1984 show at the Museum of Modern Art (MOMA), called '"Primitivism' in 20th Century Art: Affinity of the Tribal and the Modern." identifies structures of power and first world paternalism, beleives show is misguided and offensive. This is then an example of the conceptual act of bring things together being highly problematic. the predicament of culture you do not stand in one place to watch a masquerade modernism informing principles that transcend culture politics and history tribal is modern, and the modern more richly ,more diversely human power of the affinty mix n match pairing modern and tribal problematic common denominators but in fact they are and should be independent of direct influence redeeming appropriating otherness factual and discovery proposed question :could this intercultural encounter be told differently? reclassification an additional history that assumes art is not universal but is a changing western cultural category intergrate question boundaries

0 notes

marinamitchellblog · 5 years ago

Text

Further Research

Any art that can be considered "queer" refers to the re-appropriation of the term in the 1980s, when it was snatched back from the homophobes and oppressors to become a powerful political and celebratory term to describe the experience of gay, lesbian, bisexual, transgender, and intersex people. adheres to no specific particular style , aesthetic, method or practice of art some artists embracing Identity Politics and other eschewing it as not important for their work liberated from societal conventions of desire. Art and Homosexuality: A History of Ideas Christopher Reed explore the radical, long-standing interdependence between art and homosexuality discussions of both aesthetics and sexual identity and takes our understanding of each in stimulating new directions. conception of artist and homosexual queer x design andy campbell 1st ever illustrated history of the iconic designs, symbols, and graphic art representing more than 5 decades of LGBTQ pride and activism. tells the story of queerness as something intangible, uplifting, and indestructible. visual history of activism and pride evolution of Gilbert Baker's rainbow flag more books to find and read art and queer culture- catherine lord and richard meyer a queer little history of art -alex pilcher building my knowledge on queer histories

https://www.youtube.com/watch?v=9RfKDpTgDP8 https://www.youtube.com/watch?v=b7ZZzg6a9Lo Younger artists are portraying their day-to-day lives and using that as content for their work. “It is important to take note of how we’re viewing queer lifestyle in terms of this transformation from pure activism to something more romantic” – Stephen Truax https://www.hellergallery.com/collaborations-with-queer-voices/ collaboration with queer voices NY heller Gallery neon works celebrating pride 2019 declaration of where the LGBTQ community has been and where it is heading Neon is a bygone marketing tool that advertises, announces, or points to something or somewhere. Language is an increasingly important aspect to the LGBTQ ecosystem Shoog mcdaniel ALOK VAID-MENON art by queer sex workers takes a stand against violence and criminalization non tradiational queer artists of the 21st century whom are to be found on instagram and disocvered through social media channels a true representation of this generaetion. @cliffordprinceking @fei_bian, @brohammed @ggggrimes, humanity―"hurting, healing, and simply living happily.” @ashlukadraws, racial justice, immigrant justice, climate justice, mental health and LGBTQIA+ liberation.” Queer nightlife point n shoot camera Her candid snapshots stand in opposition to the sanitized veneer of high-fashion and Instagram images caputruing people as they really are roxy lee ,vingear sniffs 2019 Photographs of marginalized groups can appear voyeuristic intimate and revealing the characters in her photographs are irreverent, hedonistic and politically-charged.

Films :that portray queer experience call me by your name(have watched) adolesence and powerful romance love simon (have watched)secret sexual orientation meets blackmail alex strangelove (have watched)”virginty” and sexual idenitiy self discovery the birdcage blue is the warmest colour (seen parts) lesbians create deep emotional and sexual connections tangerine brokeback mountain Inside bedrooms of queer youth nightstands voyeuristic nic naks safe, cozy, personal space to be our truest self away from societal constraints microcosm of our wider interests and identity ‘cluttercore” finding solace in a bedroom we choice objects and items that we want to surround ourselves with instagram : @queernightstands comedy humorous aspects staple objects deemed queer incorporation of diverse sexualities into public galleries and exhibition spaces. the idea of the internet as a safe place for queer 75 percent queer teen come out online 1st before in real life covert nature, history of volatile life threating unaccepting situations normalize Curating Queer Heritage: Queer Knowledge and Museum Practice Patrick Streon heteronormative narratives depicted as norm of social and cultural life critical discussion of methodological aspects of a queer perspective in interpreting, exhibiting, and organizing museum collections. translating an abstract queer perspective into museum practice museum “collects art on grounds of artistic quality. whereas it should also be inclusive of imagery of social or cultural interest—topics unlikely to meet the aesthetic standards of the museum. Conceptualizing queer museum practice objects that eneter musuem have their context altered immediately possibility for context and display to give queer objects a normative meaning CAMP Museums with ambitions to be queer need to reflect on their role as institutions and as producers of power and of normative meaning. They should allow for queer presences to occur on their own terms rather than co‐opt LGBT culture as a way to seem more radical than they really are. Museums should instead facilitate the production of queer meaning in their collections through innovative display, groundbreaking research, and encouraging subversive social events on their grounds. Regulating and resisting queer creativity: Community-engaged arts practice in the neoliberal city urban studies or creative city policies contradictory role of queer arts practice in contemporary placemarketing strategies. disidentificatory interventions, acts of co-opting and re-working discourses which exclude minoritarian subjects, challenge violent processes of colonisation and commodification on multiple fronts, as well as fostering more collective and relational ways of being. Queer Visual Culture TextsJames H. Sanders III Examining that world through a queer theoretical lens, the author explores how media and visual cultural studies can serve as fertile sites for critically reading contemporary culture and understanding social change. how visual art educators can open up discussions regarding lesbian, gay, bisexual, transgender and queer subjects, and challenges such pedagogical practices as performances of social justice and commitments to human rights for all students. Queer Curating and Curatorial Strategies decriminalizing selection installment how stories are told vs how they can be interpreted social inclusion and social movements process ; identify the marginalized ,celebrate liberation and then continue on to present a linear progression in history museums have in past been aimed at male gaze and subject to prioritize the heterosexual male perspective. neutral museological practices no bias against non conforming identities still til this day evoking negative reactions and causing controversy rethinking Rather than looking at how museums include LGBTIQ subjects in their exhibitions, we should focus on how an LGBTIQ community-based museum creates queer narratives which not only challenge the institutional discrimination in public museums but also reflect on their own limitations. research research research be educated as a curator were revealing institutional neglect Curating Queerness as an Activist Practice ephemeral projections Activism is historically inherent to queer art and visual culture, both in terms of artistic and curatorial practices stonewall hiv/aids crisis subvert society’s status quo around gender, sexuality and orientation “ethical responsibility” of curators to ensure that a gallery’s walls reflect the society we are part of, dismantling a so-called universal “default” queer curating is the practice of reclaiming present and future queer legacies by understanding queerness not as a supporting role, but a defining and central practice within modern and contemporary art. changing the system from within Queer artists consequentially offer alternative modes of thinking about sexuality that is more complex than the previously established binary model, Jonathan Katz and Änne SöllEditorial: Queer Exhibitions/Queer Curating Queer is a term that sets out to question normative and systems within society. intersectionality, showing how multiple modes of identification cross-pollinate. interrogate the passive position of the viewer and demand active engagement, honest investment, and frank questioning,

0 notes

marinamitchellblog · 5 years ago

Text

Additional Resources

queering the museum/gallery/curator folder ;notes Danielle Braithwaite-shirely : black trans archive process to actually enter the website as they want to control a safe trans and black space

Queer Curatorship Sex Museums: The Politics and Performance of Display Jennifer Tyburczy Print publication date: 2016 Print ISBN-13: 9780226315102 Published to Chicago Scholarship Online: May 2016 DOI: 10.7208/chicago/9780226315386.001.0001 Queer scholarship has emphasized the construction, interpretation, and development of archives and has foregrounded the politics of historiography model a curatorial tactic that grounds queer theory in a register of actual practice called “queer curatorship.” Queer curatorship is as an experimental display method that stages alternative spatial configurations for two distinct purposes: to expose how traditional museums socialize heteronormative relationships between objects and visitors; and to cope with ethically fraught objects of queer cultures—which in this chapter takes the form of leather whips as objects with historical ties to both gay leather/kink culture and antebellum slavery. method for displaying the history of sexuality and analyzes the histories of eroticism how should we display the history of sexuality reception and recognition bad or good sex objects queer curatorship as an alternative performative methodology can be mobilized in a variety of different display spaces to do and undo the history of sexuality by constructing new epistemological frameworks for understanding and exhibiting sexuality in the public sphere. !! method for displaying the history of sexuality by examining a highly controversial topic in that history: histories of eroticism pleasures and discomforts associated with the representational labor of publicly displaying nonnormative sexualities. In using their bodies to stage and remember scenes of nonconsensual and, most often, violent torture and adapting those histories for the attainment SM pain and pleasure Queer curatorship is simultaneously a mode for studying how museums place objects in normative sexual relationships through the curatorial citation and repetition of familiar arrangements, juxtapositions, and chronologies and a method for experimenting with object arrangements toward the cultivation of other sexual-social relationships queer curatorship describes a diagnostic and procedural tool for studying how performative displays affect the ways in which objects and bodies are made to relate to one another in space while also coping with the danger of experimenting with alternative configurations act of ordinary things becoming special when placed in the context of a museum reorganize sexual future Te papa 2020 explore queer objects artworks and stories online project curatorial project came together through principles of mana taonga The Institute of Queer Ecology collaborative organism looking to find and create alternatives Guided by queer and feminist theory and decolonial thinking undo dangerously destructive human-centric hierarchie marginalized voices freedom and space to tell their stories and be heard

0 notes

marinamitchellblog · 5 years ago

Text

weeks 9 -12

proof read and revise!!! dont forget the visual submission aspect map budget Bibliography: https://www.scoop.co.nz/stories/CU2001/S00126/queer-algorithms-exhibition-at-gus-fisher-gallery.htm https://thespinoff.co.nz/art/05-04-2020/to-queer-or-not-to-queer-what-can-galleries-do-to-address-homophobia/ https://www.thebigidea.nz/lowdown78 file:///C:/Users/64275/Downloads/Queer%20Curatorship-chapter-007%20(1).pdf https://blacktransarchive.com/ file:///C:/Users/64275/Downloads/Te%20Papa_%202020%20Explore%20queer%20objects%20(1).pdf https://m.theartstory.org/movement/queer-art/ https://www.gaytimes.co.uk/culture/virtual-gallery-three-queer-artists-showcase-their-incredible-work/ https://stefanmesch.wordpress.com/2016/07/16/queer-literature-queer-art-quotes-statements/ https://www.frieze.com/article/pictures-art-queer-sex-work https://www.nytimes.com/2018/09/17/t-magazine/gay-queer-figure-art.html https://www.frieze.com/article/pictures-londons-queer-nightlife https://supermaker.com/articles/top-lgbt-ig-accounts https://www.elle.com/uk/life-and-culture/culture/g30244502/best-lgbt-films// https://www.wmagazine.com/gallery/queer-photographers-pride/ https://i-d.vice.com/en_uk/topic/queer https://onlinelibrary.wiley.com/doi/full/10.1111/j.2151-6952.2012.00159.x https://journals.sagepub.com/doi/abs/10.1177/0042098018755066 https://www.tandfonline.com/doi/abs/10.1080/00043249.1996.10791791 https://www.jstor.org/stable/20715433?seq=1 https://curatingthecontemporary.org/2017/05/18/curating-queerness-as-an-activist-practice/ https://digitalcommons.bard.edu/cgi/viewcontent.cgi?article=1083&context=senproj_s2018 https://www.on-curating.org/issue-37-reader/editorial-queer-exhibitions-queer-curating.html#.X4iXE2gzbIU https://www.elkekrasny.at/archives/category/kuratorische-praxis-theorie

0 notes

marinamitchellblog · 5 years ago

Text

Week 8

curating the pacific Rachel Yates Notes on the 2 texts she mentioned : Charting Pacific (Studies) Waters: Evidence of Teaching and Learning Teresia K Teaiw hook :How does one begin to describe the enormity of the Pacific Ocean? T most prominent geographic feature on this planet, it occupies one-third of the Earth’s surface area how do we describe the history, settlement who made sure it was explored? honor and respect//misunderstood and misrepresented groups articulating the philosophy that underpins her approach as a teacher. illustrations of her practice reflecting on the broader context of higher education in New Zealand in which Pacific studies is situated and some of its ongoing challenges. historical agency norms, tapu and noa, structure and historical agency, mana and sovereignty. Describe and evaluate the possible reasons for similarities or differences in the unfolding of history in eastern and western Polynesian countries. ongoing challenges Agency and authority: the politics of co-collecting Sean Mallon key excerpts and notes We do not have a collection of unmodified seashells in the Pacific Cultures storeroom in the museum. We have shell cultural valuables, shell necklaces, shell trumpets, shell decorated shields and canoes, but no seashell collection. Yet this shell is one of our most interesting cultural acquisitions in recent years for how it helps tell a story of Pacific Islanders in Aotearoa New Zealand, of migration, transnational ties, cultural memory and loss, and the politics of co-collecting. It is an item that would not have come into the Pacific Cultures collections if Kupa Kupa did not have some sense of ownership, responsibility or an opinion about what was important, and what should be collected to represent Pacific peoples in the national museum. role of a curator ; Our role is to develop, research and exhibit the museum’s Pacific Cultures collections within the parameters of collection policies, strategies and plans. To do this, we examine auction catalogues and monitor online auction sites. We attend cultural festivals and events, and visit art galleries and exhibitions. We consider and accept gifts or donations, and we go out into our communities and purchase things. working directly with Pacific peoples. growing populations of Pacific people transformed the social, cultural and economic landscape in Aotearoa New Zealand. ethnographic museum mana taonga – the power and authority associated with taonga, or cultural treasures – a key concept for activating access, collaboration and sharing authority with stakeholder communities. At stake in the politics of co-collecting and other collaborative collecting practices is the relevance of our museum to the communities we serve. Co-collecting encourages sharing and reworking of one aspect of our curatorial role, and I do not think we or the museums we work for should feel threatened by this, because in decentring ourselves we might actually recentre our museums as places that are relevant to the communities we represent. If we are committed to history, material cultures and the people that make them, then a co-collected, co-curated future must surely be a crucial dimension of the twenty-first-century museum.

0 notes

marinamitchellblog · 5 years ago

Text

Examples of Curated Projects

https://www.tepapa.govt.nz/discover-collections/read-watch-play/history/lgbtqi-histories-aotearoa-new-zealand/watch-what-makes https://www.tepapa.govt.nz/discover-collections/read-watch-play/history/lgbtqi-histories-aotearoa-new-zealand/holy-homoerotica yet another virtual exhibition ;gay times #undistanced 3 artists alex benecki = behemoths of the fashion industry as part of the queer community janita mutanen = photographic practice representation of gender in the media jamie elder= mock covers 80s porn mags well curarized aesthetically their designs and compositions seem planned together very initial and successful design. addressing similar themes and narrative's with different practices.

0 notes

marinamitchellblog · 5 years ago

Text

Potential Exhibitions Items (and notable artists)

Guy Fisher Carmen Rupe Fiona Clark NZ memorial AIDS quilt Claude Cahun Francis Bacon David Hockney Robert Mapplethorpe George Segal Jackson Pollock Ottielie Landmark Naima Green Heather Glazzard Nora Nord Lanee Bird CHERRY AUHONI EMMIE AMERICA SIMONE NIAMANI Jack Pierson ELLE PÉREZ KIA LABEIJA sophie troy sivan andy warhol matthew papa Manifest (2017). Photograph by David Uzochukwu. A frightening aspect of queerness was the mind-numbing loneliness growing up. Kris and Honey (2017). Photograph by Lia Clay.

0 notes

marinamitchellblog · 5 years ago

Text

Week 7 Informing your Exhibition Making

ongoing research and investigation in support of your ideas and vision, processes of collating and editing the range of information you gather as you develop and refine your project proposal ideas As a part of your self-directed studies you will need to actively look at existing exhibitions and curated projects to help inform your own project. Scout the Additional Resources folders --what might be in there for your project? Guides for Project Proposal Do I have an idea of what i want to do ? yes but still unclear and iffy on a few things, looking at going in the direction of queering the galleries Have you begun a selection of possible exhibition items? 5 items so far already looking to refine and make changes What is your exhibition venue, space, site? undecided in a traditional gallery setting? Self Directed Study: Start building your Bibliography of all sources. Keep generating ideas and continue to work on your ideas, objectives and reasons for a curated exhibition. What are your aims and vision for the project? investigate what public galleries' can do to prevent homophobia create a safe inclusive and welcoming queer space identifying LGBTQI+ or LGBTQI+ associated artists. acknowledgement for queer heroes sexually liberating collections fulfilling a need and important conversation that needs to be had -lack of identifying queer artists and queer exhibitions - (increase visibility) public understanding of queer is still basically non existent and continues systemic erasure of queer lives What venue or spaces might you want to work into? Auckland Art Gallery performance protest pieces outside galleries who do not support queer work would be very controversial and interesting but a lot of work goes into getting those kind of legal permissions Tepapa as its not something I can recall being strongly represented there MoMA When is this exhibition planned for? International Day Against Homophobia, Transphobia, and Biphobia, May 17 2022 What are the project's guiding values, principles, and kaupapa? identity politics new epistemological frameworks for understanding and exhibiting sexuality in the public sphere mana taonga If you have not already, begin to develop your topic or theme/s. You might develop this through a mind map or brainstorm of words, phrases, image boards or info graphics, etc sexuality-gender-identity-safe-comfort-outing-voice for marginalized communities-queer art movement-stonewall-decolonizing spaces-history-suppression-claiming-expression-pride -civic culture of the city What is the subject of your exhibition? Why are you doing this? What does it seek to do or reveal? the act of queering a gallery space this is to give queer artists and allies the chance and opportunity to tell their stories to reveal a history of suppression and a hope for a fluid society and future of sexes. what and who are you representing through the selection of your exhibition items? Queer ,LGTBQ+,inclusive so anyone who doesn't feel they have a sense of belonging or a place to identify with to the extent that they're supportive and loving and interested and open minded about topics that are being discussed and the language used which the exhibit. Look and think closely about the relationships you seek to build between items in exhibition. understand and educate positive relationship new beginnings new museology built off negative and suppression a turning point for queer culture to gain insight and gather momentum for this project - 'chase' a curator, a curated project, writer on curation (critiques or reviews, critical writing on a curated project) -make one national & the other international. What is it about what they say or do that inspires your thinking or your project? -on my further research page ive looked at curating the queer.new ideas and ways of thinking concepts that hadn't crossed my mind or id understood has influenced the mindset i have taking on this curatorial project Spend time to look at examples of exhibitions and/or exhibition display that are of interest and can help stimulate and inform your thinking (doing this on another post :) ) Collect at least 15x images of exhibition items that you might include Gus Fisher

Fiona Clark, Donna Terri and friend at Mojo’s(link is external), 1975, Auckland. Te Papa (O.043785) social documentary style revealing communities

Claude Cahun -protested gender and sexual norms one of the 1st openely transsexual artists Mask ,another mask

Francis Bacon two figures 1953

David Hockney We Two Boys Together Clinging

Robert Mapplethorpe Patti Smith, 1978.

Jackson Pollock

Ottielie Landmark - Heather Glazzard and Nora Nord

Troye Sivan “Bloom” robert mapplethrone refrences https://www.youtube.com/watch?v=41PTANtZFW0&list=LLXFcHCLrvxut3zYRpKFP2kg&index=1212 music video https://genius.com/a/troye-sivan-s-bloom-is-a-metaphor-filled-ode-to-bottoming lyric breakdown picture screenshot from the video

Manifest (2017). Photograph by David Uzochukwu

Lia Clay Kris and Honey (2017). Photograph by

Nora Nord “queer in quarantine”

Jack Pierson ‘the hungry years’

Elmgreen & Dragset, Homosexuals Only (2001), view of Homosexuality 2015, andy warhol

david getsy jennifer doyle Math Bass, Body No Body Body, 2012, latex paint on canvas and wood, installation view, Overduin and Kite, Los Angeles, 2012 sculpture, sexuality, and abstraction prompts

0 notes

marinamitchellblog · 5 years ago

Text

Week 6

introducing the curatorial project proposal flesh out exhibition ideas contextualize thinking hypothetical exhibition where you take on the role of curator not about my creative practice extend inquiry, knowledge fields of interest exhibition overview curatorial process ethics/kaupapa potential audiences and outreach Budget Visual support Bibliography curating 'nature'__Mark Dion Vivarium screening Neukom Vivarium (2006- present) curated a naturally fallen 'nurse log' into a custom greenhouse for the Seattle Sculpture Park.vivarium /enclosure, container, or structure adapted or prepared for keeping animals under semi-natural conditions for observation or study as pets; an aquarium or terrarium. The nurse log sustains an ecology of living fauna and flora. Dion's work often concerns environmental politics, raised debate about human invention and mechanical means to sustain natural life. Mark Dion's work examines the ways in which dominant ideologies and public institutions shape our understanding of history, knowledge, and the natural world. Appropriating archaeological and other scientific methods of collecting, ordering, and exhibiting objects, Dion creates works that question the distinctions between “objective” (“rational”) scientific methods and “subjective” (“irrational”) influences. By locating the roots of environmental politics and public policy in the construction of knowledge about nature, Mark Dion questions the authoritative role of the scientific voice in contemporary society Intrigued by natural history and museum procedures “I’m not one of these artists who is spending a lot of time imagining a better ecological future. I’m more the kind of artist who is holding up a mirror to the present.” science and aesthetics performance authority and even humor contexualisiing dead tree ,living system virtual impossible to get back a natural system that were destroying ‘building a failure’ art making on an experimental model; to prove and disprove job of an artist is to go against the grain of dominant culture, to challenge perception, prejudice, and convention. big flaw in some public art schemes is that they seem to be about trying to find an artist who’s going to please everyone = not our job to satistfy the public artists have an agitational function in culture when no one else seems to. hard to locate work hybrid space conceptual art practices and natural systems —an appreciation of decay as a process and as a tool for discourse.

0 notes

marinamitchellblog · 5 years ago

Text

Week 5 Independent Study

collections part 2 Readings and Resources: Contemporary Museum Design and Architecture, Introduction ( Lindsay 2016) are museums the cathedrals of our age? = represent the ideals society holds, gathering objects and people together in service of knowledge and beauty creating collections, they delineate whose culture, history, and art is important defining audiences - museums articulate which communities are worthy of connecting to that culture and history represent the worldly concerns of the people who lead the institutions and the cities that so often support the museums in a symbiotic relationship. architecture an intrinsic part of entire project defining aspect of museum experience more than a place of role of welcoming and shelter millennium an “age of museum madness” define area of town, cityscape, iconic land places of leisure and work addresses fundamental issues of architecture, using museums as the focal point. 3 paradigms : containers for collections, places for people, and symbols for ideas and values museum as we know it today originated in practice in collections of art, ethnographic, or other interesting objects gathered together and then presented for viewers royalty and invited guests only soon became public goods arrangement of galleries helps create messages about the collection as a whole embodied experiences not just visual cafes ,views, giftshops focus shifted from purely object to experience and leisure museums are ideals of a city economics or communities environment design and green practices energy efficiency ecosystems economic ideas vs curatorial practices icons ,invitations, experiences, minds, bodies, sustainability's emphasize the experience that the architecture of museums creates. architecture cannot determine behavior however it does subtly influence the experience of a space

The Critical Museum Introduction ( Murawska- Muthesius and Piotrowski) instruments of power of knowledge tools of imperialism and colonialism examine the theoretical concept of the critical museum museums must take account for current world changes such as ; democratization, t politicization of culture, European integration and its limitations, the interaction 2 From Museum Critique to the Critical Museum of local and global factors, a social minorities, migrations and social inequalities significance of memory complexity of present world transitional and diverse new identity artificiality of museums, of their principle of separation of art from life, which ultimately institutionalizes the autonomy of art rise of new museology -peter vergo Critical museum studies take into consideration value systems, deconstructing them and denouncing in their analyses the ideological and economic contexts controversies and debates reduced to objects of contemplation Such a practice equals an appropriation of the culture of the other and turning ethnographic artefacts into autonomous objects, now subsumed and disempowered by the western-imposed hierarchies of value. scientific discipline, surveillance , the spectacle local -global -modern technologies-communicating with audiences museum as temple, entertainment and forum all represent political, worldviews ,ideological system of values commercial institution generate profit branding conservatives feared the demise of tradition and a break with the continuity of history, the populists did not want to lose a chance to pursue economic strategies such as branding. Could an art museum absorb the major tenets of museum critique and turn itself into a critical institution? political ramifications of such a transformation? auratic space give voice to the underrepresented “activate” the viewer

YouTube links in Lecture (refer to in class notes for this) JN's Architecture/Museum _ intended for Week 3 Architecture, art and design: the art museum/gallery as destination display space Sets up an interpretive approach linking design of spaces, design of exhibitions- choreography of space “ harnessing the physicality of space” The late 20th C boom of museum/gallery as iconic destination historical context How is the museum/gallery experience spatially constructed? What are the interactions between the architecture and artwork in the gallery that interact to produce specific experiential qualities? What are the intersections between architecture and art – reflection exercise “ The chief function of the city is to convert power into form, energy into culture, dead matter into the living symbols of art, biological reproduction into social creativity” Lewis Mumford, Tate Modern: a new bold building for the world's most popular modern art museum 10 stories new space give chance to put different art on display -gender balance and race world in dialogue performance ,acting, in the moment ground floor arts an invitation to think about the world in a different way -magical infinite visual what plane are things in idea about abstraction from architectural mindset modernist put together a story of around the world fluxes - art movement here today gone tomorrow soaring lines, brick work building unusual shape of building not just decorative good spatial movement on the interior ,lighting conventional, dappled napping at the gallery??/ Reflective Exercise on Gallery Space consider most powerful gallery experience I've had and the experience of space from ; only recently put effort into and enjoyed going to galleries so Iwould've have to pick my first visit to a gallery a few years back which was again to city art gallery here in wellington. street elevations find building hard to locate if your not from wellington i supposed although from higher up these days easy to spot with the addiction of the hand sculpture. entry open can already see the heavily anticipiated works we were all excited for upon enetering atrium covered space artfofical light brick no to little windows and glass structures stairs artworks on the walls of the staircase ends non framed directly painted on wall architectural programme -spaces are connected by tall doorless white walls which leads you to move and progress through the gallery in certain way blocking some avenues and directing you without your subconcious mind even realisisng.as a bunch of young excited teens I defiantly want to create the narrative that we enthusiastically raced around the gallery in the most unthought out way gravitating to large unusual works. Cultural values and realization through built form Encountering art – what did you see and where was it what do I remember most vividly - i have a picture of the piece i remember most probably dates back about five years ago but in reflection i think i was draw by scale, composition and pattern. And of course bodily movement which it clearly evoked me to mimic and shapes which I have come to investigate in my own practice. (i would love to know what the work pictured was titled or who its was by any information if its recognizable to you :) )

select a case study of musuem; Te Papa ( Jasmax Architects ,Pete Bossley, Ivan Mercep ) - What does the architecture and artwork in the gallery interact to produce specific experiential qualities? the spatial characteristics have enhanced gallery experience because. They manipulate experience reactions and interpretations of the artworks in relation to the built environment. Experiential qualities could reference the free flowing landscape that allows you to be drawn in your own sense of direction high ceilings with colorful transcending works white walls illuminated works all contributing design factors that unnoticeably can effect your read and visit at a gallery. What is meant by the position “ architecture is museum” I interpret it to mean the act of using art design to enhance experience of a space and installation. It encourages specific unique purpose of each museum specially the modes of function and display. In what way is the art gallery/museum considered a “contemporary cathedral” represents the ideals of the surrounding society. Working together to curate a accurately and fairly represented history based on knowledge and culture in a way that is well considering of kaupapa and Maori principles which is significant to tepapa because one of they have a key focus on Pacific cultures and taonga Maori and respectful curatorial processes. JN's Review, and Design Museums Week 5 collection and curation recap: The museum as a vessel and display case for the collection Icon of civic identity Site reflecting the power of empire and of colonization Museum as civilizing institution, underscoring narratives of national identity through collection, curation and display “The architecture is the museum” ( Gieblehausen ,2006. Lindsay 2016 ) Museum as “cathedral of the modern age” ( Prodger 2016 ) museum as a destination take stance related to contemporary issues reflecting on dominant power structures atmospheres to amplify emotional engagement

examples of new spaces and strategies internationally Cooper Hewitt Smithsonian renovation to enable the interpretation of objects and experiences in media rich new ways. experimental approach of engagement wallpapers immersion room at scale ability to draw own wallpaper-popular- technological advancements selfie opportunity's recall permanently things you've seen via pen invention navigate drag related design interactive as fuck Current Exhibition: Contemporary Muslim Fashions those who cover their heads and those who do not—have become arbiters of style within and beyond their communities designers and entrepreneurs, they have shown that clothing can be on-trend and still meet the needs of diverse wearers shaping global fashion markets consumerism confronted lack of representation in mainstream fashion narrative vitality of Muslim modest style. introduces a new generation of designers—75% of the designers, artists, and influencers in the exhibition are Muslim women under 40 years of age—and their focus on entrepreneurship, inclusion, and sustainable and ethical practices. Former Exhibition The Senses: Design Beyond Vision curated by Ellen Lupton experimental works and practical solutions new ways of accessing our world scented and tactile tour hear smell inclusive celebration of the sensory richness of design Sensory design recognizes that we understand and navigate the world with all five of our senses facilitate mobility and knowledge for sighted, low-vision, and blind users Designed to be an accessible experience welcoming to visitors of all abilities

London Design Museum Reopened in new space in Kensington in 2016 Assumes progressive strategies towards the curation and exhibition of design Advisor on Film: The new Design Museum behind the scenes tour of the new Design Museum in Kensington at its new home in the former Commonwealth Institute building. accessible what design mean 3 roles designer maker user three perspectives on design user increasingly implicated in the end result of product wide range diverse shows different interpretations of design today complicate not focused on objects more so context of which things are made rapidly changing world designers role in the world and what design can play installations about design that connects to underlying issues and themes that cause anxiety technical change state of environment ,automation communicated through an installation provocative strange perspective brief to move museum to grow and fill potential utopianly modern decay failure English heritage adapted free of charge studios for younger designers-campus for learning chance to grow audience continue to be relevant ,contemporary and collaboration design - quality of life to intertwined ideas creating an atmosphere community engagement - new economic wellbeing civic engagement create the people the future need- problem solving ,applied purpose, reiteration-key design practice/concepts everyone can implement partnership value collaboration relevant for a very complex 21st century world collect learning of design practice to the real world

M+ West Kowloon Hong Kong features a growing set of digital experiences. website and building - a work in progress dedicated to collecting, exhibiting, and interpreting visual art, design and architecture, moving image, and Hong Kong visual culture of the twentieth and twenty-first centuries bilingual online storytelling platform collections ; interactive online exhibitions and digital commissions, and a journal devoted to contemporary visual culture. archival items open access approach Danish Design Museum rebuild reopen 2022 podcast seeks to raise the level of Danish industrial products and act as a source of inspiration for people working in industry. It also aims at making contemporary consumers more critical and quality-oriented. open garden - breathing space in middle of city Powerhouse Museum Australia’s contemporary museum for excellence and innovation in applied arts and sciences demonstrate how technology, engineering, science and design impact Australia and the world material heritage and stories of Australian culture, history and lifestyle, comprehensive insight into this rich and diverse country emphasis on learning and creativity

Local Spaces: Tepapa , Celebrating New Zealand’s postal history. drawings from royal collection commercial and contemporary art 1998-now backlog of previous exhibitions The Dowse, The Language of Things: Meaning and Value in Contemporary Jewellery 2018 Precious things aren’t always made from precious materials intimacy of jewelry in contrast to the body associations of adornment They are concerned with social, cultural and political matters, that are both wider than the self—but still encompassing the self. value - monetary, cultural or sentimental terms. wealth and status communicate stories move beyond commerciality pushing the boundaries of what we traditionally perceive as ‘jewellery’. Independent Study: Using the past exhibitions from Te Papa identify an exhibition that has displayed a collection that reflects the identities of a specific social/ cultural group, medium, or social issue. Identify the key drivers behind the collection, curation and exhibition strategies. Name Muff Production Unknown; Mid To Late 19th century Classification muffs Materials fur Dimensions Overall: 400mm (width), 230mm (height), 150mm (depth) Registration NumberPC001218 Credit line Gift of Mrs P Cousins, date unknown A muff is a tubular accessory open at each end into which hands are inserted for warmth. Originally detachable cuffs, evolved into a separate fashion accessory. 17th century muff swere an important and modish accessory for both sexes. 1830 +men stopped using them and they became a feminine accessory. became much smaller, resembling a small round melon . They remained fashionable until the end of World War I, when the newly fashionable greatcoats, with roomy pockets, eliminated the need for women to carry muffs for warmth. Muffs were commonly made from fur and lined with silk or satin. It is thought that this example is made from monkey fur. The most sought after monkey skins came from the guereza (Colobus genus), found in tropical Africa. Guereza have long, silky, lustrous hair, which is either all black, or black and white. Their distinctive fur was used for capes and trimmings as well as muffs. key drive behind collection was addressing social issues such a gender and the origins of stereotypical characterization of feminine and masculine traits along side history of animal cruelty for the sake of fashion. sense of evolution of fashion and its practices. exhibited each piece individual plain white background does make the detail in the fur pop out more, isolating.

Select an example of a design focused museum and Identify an exhibition staging a collection, in your area of practice. Identify key drivers behind he collection, curation and exhibition strategies. Museum of sex NYC STAG: The Illicit Origins of Pornographic Film Nov 2018 1900s-60s short silent black n white films anymonously produced “stags” would be interesting to know ticket prices as part of curation process interlaced their depictions of sex with humor and narrative plots, subverting stories and morals from folklore for the sake of satire and sometimes social commentary Amateur production would characterize the rest of the genre’s history specific target audience : Typically middle-class, heteronormative, white, and male, these groups would gather together in American legion halls and fraternities—or brothels, especially outside of the United States—to watch pornographic films together. the purpose of getting this collection together was to show the films and demonstrate many of the major aesthetic and thematic trends and transformations in the history of this early illicit film industry. however from a newer generations perspective of a contemporary audience it was considered and recognized that the cultural and social norms of the stag era offer exceptions to them. Viewers were offered and insight to not only something that's quite tapu and uncomfortable to embrace and talk about but also the idea that construction of male and female sexualities and its exclusion of non-heteronormative and non-Anglo perspectives and narratives. It is for this new and inherently more diverse contemporary audience to determine for themselves what has or has not changed from this era to the present day. from the images i get quite a dated and retro sense of aesthetics that clearly is meant to channel the décor and architectural design elements of the 1900s-60s of the stag era.

Personal Collections: Lee Jensens Perfume Collection collecting, taste, a fascination for the animalic, and really, what can the nose know. Gourmand fragrances are ‘edible’, ‘dessert like’ built on vanilla dryness, of incense and of spice, and a biscuity warmth, of a baking kicthen i love how detailed his descriptions of perfume are scent have always been something I'm terrible at describing unexpected combinations appreciation of the body of the lover, and especially the taste and smell Tanya Marriot's My Little Pony collection collecting vs consumption Wild Play An eco-fiction toy design a series of character toys, which both embody an eco-fiction narrative, but also are themselves an ecosystem. aim at children to encourage them to engage with environmental narratives non-humaniod toy range is the central idea Taxonomy for collections rump marks toys = freedom and fantasies Collecting requires you to be super organized! As you cannot afford to buy expensive things twice. I keep an extensive spreadsheet of my collection, but each category listed in a different tab. online diverse community kitchiness low culture taste

0 notes

marinamitchellblog · 5 years ago

Text

Week 4 Lecture Notes

factual yet figurative, public yet private artists and the archive Song Dong, Waste Not, 2005. Museum of Modern Art, New York City Andy Warhol, Time Capsules, 1950s-1970s. Warhol.org Found Magazine by Davy Rothbart & Jason Bitner, Ann Arbor, Michigan Age of Earthquakes: A Guide to the Extreme Present by Douglas Coupland, Hans Ulrich Olbrist & Shumon Basar. (Penguin UK: 2015) Kerry Ann Lee, Knowledge on a Beam of Starlight, 2014 SOMA Summer Residency 2016, Photographs by Kat Kohl Terracotta Warriors: Guardians of Immortality, Te Papa Tongarewa Museum of New Zealand, 2018 “There is no archive without a place of consignation, without a technique of repetition, and without exteriority. No archive without outside.” — Jacques Derrida, Archive Fever 1995 feel like they have eavesdropped into a conversation that is interesting, even though they have no idea what it’s about and avoid making too many spurious claims about being democratic, un-curated and un-edited.

in passing whilst dinning outside or entering a building everyday life causal activities smoko break etc context surroundings but emphasis on the ordinary cosumer?

0 notes

marinamitchellblog · 5 years ago

Text

Week 4 Idependent Study

Collections Part 1 The real and the virtue describe the 2 ways of looking at collections and exhibitions of objects 1: Looking while being physically present in an actual exhibition space (The Real) 2: Being physically present looking into a digital, mediated exhibition space (The Virtual) example : deep fakes , photogrammetry Seph Rodney on the ‘new museology’ after covid really wants to escape looking at a screen virtual museums exist but still are heavily reliant on real physical museums because of the collection, preservation and interpretation of material things. The personalization of the Museum visit “the alchemy” of museums is to get someone who knows nothing about the collection to care. testing and introducing ‘a new visual thinking process “What role do physical objects continue to play in our lived realities?” rodney argues golden age of museums and this is where; curating and classifying of objects in collections, along with their preservation and display, was the sole function of museums ideas of a ‘civic space” Delisse curates anthropological and art collections, she advocates for (and implements) the hacking of ‘new models of visual thinking and concept work’: “The metabolic museum” an era of experimental, inter-displinary collaborative curating VR in covid times big issue shared headsets identity and activism and the claiming of civic spaces virtually artists imagination building of a virtual world civic space as a speculative object virtual tours Can virtual spaces and collections relevant to marginalized groups participate fully in this civic space? yes gives opportunity to create new space of their own in society rather than trying to fit to a normalized civic space of restrictions that may alter the outcome of the work due to atmosphere Further Readings: 1. Seph Rodney. A Post Pandemic manifesto on looking + Black Market Reads podcast. transformation of curation in art museums didactic curation -self directed engagement care of objects education role and function of museums encourage public to care about the collection how they socialize and code behavior curators role - authoritive holds power curation and education combine new museology civic space work and home and the in-between curating curiosity meaningful experiences really construct a civic attitude 2. Rondopilot. Clémentine Deliss and the Metabolic Museum-University. idea of museum /university is carried by a new architectonic structure that enables people to study different subjects based around historical collections less collection work senses and visual thinking to fill space and surroundings curator vital not cosmetic functional necessity remarkably normative, right down to the way artworks are hung, the constructed timing of an exhibition, the periodization of installing, the manner one is allowed to engage with collections, and how the public is treated and responds to this. You change the activity and the visibility of what you do within each institution, in order to make it transform. You don't try to cure a museum with a museum. Instead you remediate it by introducing an outside interlocutor

3. 'Is there hope for virtual reality in Art and why Marina Abramovic and Jeff Koons are not the answer'. “rising”mind blowing-ly daft example of how to take a worldwide crisis like global warming and make it entirely about yourself. experimental nature of work inspired and influenced by an old game transported eco -conscious If we’ve really reached the point where we need a virtual Jeff Koons sculpture of a metallic ballerina to help us love living … well, that’s goddamn depressing." “uses a fear of water as a metaphor for a kind of anxiety for the future” proponents of virtual reality insist that the medium is a groundbreaking force in expanding media’s empathic capabilities. what if this technology was ubiquitous, and not a novelty While we may feel a greater sense of empathic connection in virtual reality now, what happens when the medium becomes normal?

Part 2 The Man who never threw anything away- Ilya Kabakov Notes: labels sort and arrange garbage assumption that everyone accumulates some form of garbage whether that be papers at a desk or notes and receipts valuable memories keepsakes unforeseen occasions purges or you become engulfed relationship between saved or thrown away reinforces value and importance chains collections recollection significant personal individual attachment detached view sustainability why should common sense be stronger than my memories? reminds me of the quote another mans trash is another mans treasure boundless dump preservation Ordinary things in ordinary places: Meditations on moving -Connie Brown kerry ann lee Notes: moving. frequent activity It demands efficiency, planning, focus questions of where I have been, who I have met, how I got here, how they helped me, and where I might head next. Photos, posters, newspaper clippings, scribbles, hand-written notes, cartoons and star-charts are among the “ordinary things” documentation The work makes reference to a common practice in the construction of public spaces wherein newspaper is used to conceal shop interiors from the street. not purely an act of concealment—it is foremost one of exhibition. Lee lifted the narratives, people and relationships to which they gesture from the confinement and obscurity of the archive and into public view. This reversal—from obscurity to visibility—is characteristic of archival art. Lee’s work can be understood as an act of homage to the individuals and collectives who have played an indispensable role in Enjoy’s formation and development as it moves into its next phase mindless doodle in the margin of a page, has meaning beyond the action which brought it into being. totem of collective memory. whos looking at who concerned with how personal experiences and cultural histories interlock how they are expressed or repressed in urban environments. how a space holds us Choose examples of private or public collections of art and/or design objects. Describe their systems and modes of display. 1.Moths and butterflies, collectively called Lepidoptera @ tepapa taxonomy free to view in person not to touch behind a palin of glass neatly pinned and mounted as a group pressumbly in some alabaetical or by type order no prior knowedgle small descriptions about the lepidoptera.collected to the enriched entomological .from all over the world mainly New Zealand, Australia, Europe, Pacific Islands, and Southeast Asia. 1800 named species, historical and scientific value (for example, the Hudson Collection), which were bequeathed to the Museum. Many other specimens were obtained by collecting expeditions to remote areas of New Zealand, 150 primary types researchers to study the composition, distribution, and ecology of the fauna educational and entertainment display purposes 2. Antique Vibrator Museum, San Francisco’s Sex Toy Attraction and collection/ a collection of vintage sex toys, with items dating back to the 1800s and going all the way up to the 1970s. display cabinets. dozens of styles of electric vibrators, just like those in our exhibit, were available to the discriminating medical professional." tell the story and history of female hysteria and medical tool for female disorders. left out newer addictions to the collection intentional to keep focus on the archive the old the origins.

0 notes

marinamitchellblog · 5 years ago

Text

Week 3 Lecture Notes

The souvenir displaces the point of authenticity as it itself becomes the point of origin for narrative. But whether the souvenir is a material sample or not, it will still exist as a sample of the now-distanced experience which the object can only evoke and resonate to, and can never entirely recoup The souvenir is destined to be forgotten; its tragedy lies in the death of memory lost and collected ruby hoette recap on the souvenir: acts as a trace of ‘authentic’ experience stands in for events it is intended to represent an object substituted for an experience requires the narrative of the possessor to function has no need or use value, satisfying narratives of nostalgia is a ‘cultural fossil’ caught in a temporal archeology of remembrance has little material value A recap on the collection: replaces history with classification is not about the contexts of origin, but the creation of a new context – as a spatial whole relies on the mechanisms and limitations of its display shows the aestheticisation of use value used tea bags cabinet of curiosities- was preliminary to the idea of a museum – displays disparate objects in a single place , included both Exoticae and Scientificae and not simply a decorative display, The museum is a colossal mirror in which man contemplates himself Georges Bataille We don’t need more museums that try to construct the historical narratives of a society, community, team, nation, state, tribe, company, or species. We all know that the ordinary, everyday stories of individuals are richer, more humane, and much more joyful. The measure of a museum’s success should not be its ability to represent a state, a nation or company, or a particular history. It should be its capacity to reveal the humanity of individuals. . It is imperative that museums become smaller, more individualistic, and cheaper tell stories on a human scale re-create the world of single human beings—the same human beings who have labored under ruthless oppression for hundreds of years. encourage and support people in turning their own small homes and stories into “exhibition” spaces. future of museums is inside our homes!!!

0 notes

marinamitchellblog · 5 years ago

Text

Week 2 Lecture Notes

The Exhibitionary Complex How does the museum exert control over the disciplining of subjects? The museum • an institution devoted to the procurement, care, study, and display of objects of lasting interest or value; also: a place where objects are exhibited • To render things knowable museums are equally open and accessible to all represent culture and values modes of function not what the museum exhibits but what it represents of a nation museums are places where objects are exhibited but this is not its full potential and purpose something greater than= the nation, communities etc panopticon museums are made up of so many elements all reliant and effected by each other physical display, architectural design of space brand identity and so fourth. “new museology,” social and cultural functions quest to engage communities more fully and attract broad audiences an adventure in which all new zealanders can be immersed and become travelers too define location responsibility and repercussions

0 notes

marinamitchellblog · 5 years ago

Text

Week 2 The Exhibitionary Complex Independent Study

recap lecturer presentation :

key idea of Exhibitionary complex: the great exhibition 1851 Alterity to ‘obedience’ and the national museum

The museum • an institution devoted to the procurement, care, study, and display of objects of lasting interest or value; also: a place where objects are exhibited • To render things knowable

characterized by 2 principles; first the principle of public rights sustaining the demand that museums should be available to all and secondly resprentaation adequacy of cultures and values of different sections of the public.

‘a rhetoric often not met by the political rationality embodied in the actual modes of their function.’

Museum’s are places where objects are exhibited, but this does not fully explain the museum’s purpose. • Inside the walls of a museum, the exhibited objects represent, or remark something greater— the nation.

https://www.youtube.com/watch?v=CzvHv9CmdKQ the story of the great exhibition part 1 - David Dehaan building the crystal palace Victorian Britain 1st international tradeshow sense of empire Prince Albert championed the original concept, helped to raise the funds and took a very active interest in the project. the social impact of the Great Exhibition and how it shaped Victorian Society. 2260 workers performance of contract excelled “early English shed” dubbed to ‘crystal palace” after addition of glass ,glazing and further construction and alterations recorded outdoor and indoor temps painting done from ladders not scaffolding blue red and yellow in proportions as the appear in nature every colour separated by a band of white paint industrialised opportunity grand opening ceremony- welcoming business’ and foreigners cartoonists’ 6 mil visitors pop18mil women and men different prices eliteist no fee to exhibit- 7 thousand items selected from committees a lot of submissions 1st of many other countries followed suit building temporary and dismantled https://www.youtube.com/watch?v=9sDj8VquIQY An illustrated tour of the Great Exhibition of 1851 – Part 2 front and end entrances main entrance on south face record how many people in building pamphlet guides “follow our noses” no one went left or right attention went straight to the fountains and beyond organ -caused clogging of traffic follow in entrance and had to be moved stuffed elephant as a plinth. Elephants as building leg strutcure.ivory trade ?? agricultural machinery 17 exits minerals gazebo more foundations lighthouse optic medicinal items full size trees open sky refreshment rooms printing press english vs france furniture 1st time you could see other countries produce statues tapestries lecture room stained glass!!! all from different nations workshop for running repairs on the building sectioned my country place culture etc fusion of so many sites in one china no submission things you saw were borrowed personally from individuals medal prizes souvenirs not allowed to sell ,could take orders no displayed prices queen Victoria bought statue temporary ,rebuilds and permanent new buildings since greenhouse exciting experience multiple visits so much to explore

Notes combined functions of spectacle and surveillance.

Watch 10 minute Trailer

Getting to Our Place(Dir.Gaylene Preston) https://vimeo.com/ondemand/gettingtoourplace

Brand identity of a museum ‘an amazing adventure — one in which all New Zealanders are travelers’ for ‘the museum is going to take us on a journey . ’ ” creative process department the more brain the better collaborative 70/80logo initial designs analysis of brand imagination not literal political ,ideological , creative and commercial considerations collide frustrations within community when it comes to decision making cant see the bird sense of soaring ,coastline and migration fluid ,blob of ink what is the logo of TePapa? objected to painterly cross- simple memorable mark x marks the spot you are here positive connation's font type directly taken off copy of the treaty loads and loads of variations cross sign is a negative , a fail not appropriate for the museum insulting to Maori English symbol reading too much into it ? lack of understandings between the cultures concepts and developments thumbprint clouds, topical map ,fish ,eye causal informal “chummy” presentation layers meanings emotional mindset had all come together identity in the commercial environment identity for all people the brand symbol of Te Papa

1.Tonny Bennett “The Exhibitionary Complex″

notes: hard and soft approaches to 19th century's role in the promotion of art and culture 'a systematic body of knowledge and skills promulgated in a systematic way to specified audiences'. Museums were typically located at the center of cities where they stood as embodiments, both material and symbolic, of a power to 'show and tell'

Where instruction and rhetoric failed, punishment began exercising ideological control, imaginary dominance principle of spectacle

rendering a small number of objects accessible to the inspection of a multitude of men - did not fall into abeyance in the nineteenth century: it was surpassed through the development of technologies of vision which rendered the multitude accessible to its own inspection. An object when we look at it, it becomes a lookout in its turn when we visit it, and now constitutes as an object, or in more condensed terms; A sight itself, it becomes the site for a sight; relations of knowledge and power continued to be invested in the public display of bodies, colonizing the space of earlier freak and monstrosity shows in order to personify the truths of a new regime of representation Utopian principles of social organization = promising the imminent dissipation of social tensions once progress had reached the point where its benefits might be generalized. The basic signifying currency of the exhibitions, of course, consisted in their arrangement of displays of manufacturing processes and products. collections of national materials are represented as the outcome and culmination of the universal story of civilization's development These key points link to modes of display, the disciplining of museum visitors, and display architecture (interior or exterior) because as the complex theorized by Tony Bennet states museums hold certain levels of power and are symbolic of greatness wealth and progress due to this the visitor is subjected into the role of obedience. Overall implying a museum etiquette behavior ;a national identity, a way for nations to establish order in society ad communities.

2. Consider one of the exhibition spaces you visited in week one. Can you determine or suggest ways you think visitors are being disciplined as viewers in their museum experience?

the way that the exhibits are presented has a disciplinary impact on a viewer because they are subjected to existing architectural design of the building. subconsciously leading them around the gallery. For example The city art gallery I visited has both walls blocking areas and large wall text that make you gravitate a certain way. Staircases are they eluding to “better” stuff on higher grounds. what's there to differentiate between the levels does a multiple story building effects the layout. Personally I've never ventured upstairs first and there have defiantly shorter visits on limited time were I haven't managed to get upstairs i wonder if this is something that's taken into account is the more “important” “Significant” work down stairs where its more easily and fast accessed.

3.Make a few notes about the brand identity of your selected museum/art gallery. Specifically, consider how your selected museum/art gallery brands itself to ;i) communicate its identity as a museum/exhibition space ii) attract the public, or specific target audiences

learning about the importance of logo branding and establishing themselves in the commercial environment from watching the

Getting to Our Place trailer I thought this was a great place to start research my galleries' brand. The closet thing to a logo they identify with is a diamond used as the dot above the i or a layer behind the c as pictured grabbed from there social media platforms. My best educated guess for the reason behind the diamond and square shapes is they wanted to keep a formal clean minimal easy to read design for the place but it does in my opinion also holds connotations of thinking outside the box which is why the box is creatively shifted to created a diamond shape. Uncertain on where the choice of the yellow addiction to the quite restrictive minimal color palette came from other than the obvious yellow is a happy positive emotive color.

The wellington city art gallery communicates its identity as an exhibition space through simply just serving its purpose of an art gallery and embracing the uniqueness of a space whos purpose is not to sell rather to give an opportunity of engagement. There brand is to introduce the public to art and get out the way for the content to be the arts itself and the visual experience solely it attracts members of the public via showing both contemporary art of New Zealand and from around the entire world. Its also a place commonly visited by university's and high-schools the first time id ever been there was on an art trip during college I guess the appeal was it being so local and the dynamic cultural presence. City Gallery’s activities are designed to nurture curiosity in the ideas explored within contemporary art. Their exhibitions have an edge. add to the contemporary art narrative. aesthetic intent hub for art life in nz capital nourish souls ,magical properties, uplift and transport spirits City Gallery works collaboratively with artists, galleries, collectors, and an extensive range of organizations and business partners to present exhibitions and events that are relevant to our lives today, test art’s boundaries, and challenge us. https://www.youtube.com/user/citygallerywgtn/videos never realized they have a YouTube channel that they upload to quiet frequently with more context to the works this was cool to see especially more so if you take unguided tours and don't thoroughly read wall text even then having more information beyond that is so interesting.

Further Readings: The International Exhibition 1906-07, Hagley Park, Christchurch 1 November 1906 to 15 April 1907. Richard Seddon successful despite substantial finical loss 2 mil visitors nz total population was less than 1 mil at the time to attendance excelled expectations Frederick john Barlow designed the art gallery designed for maximum fire protection host to an extensive collection of artworks from Britain as well as some art from Australia and New Zealand. sales = New Zealanders bought around £12,000 worth of paintings, and Australians another £5000, the average prices being £186 for an oil and £55 for a watercolor. The most popular works were landscapes and genre paintings. main purpose was educational but visitors must still be entertained and amused maori Pa predominantly pakeha meaning they were provided with the opportunity to experience aspects of maori culture music- brightens impressions Orchestras Chamber music Organ recitals Brass bands Pipe bands picture of the nz section in the art gallery :

The 1940 Centennial Exhibition, Rongatai, Wellington, 8 November 1939 to 4 May 1940 2,641,043 vistors daily average attendance of 17,149. After the exhibition closed the buildings were used as extra accommodation by the Air Force. Following the war they were used to store wool. The buildings burned down in September 1946. he strong lines of the buildings showed the possibilities of modern construction; and the central tower 'symbolized the progress and ambition of the young nation'. modern technological wonders Since New Zealand was the first nation of the British Commonwealth to grant women the vote, a women's section was made a special feature. needlework and weaving two domestic displays of furniture and household knickknacks one a pioneer hut and a Victorian home The Sesquicentennial, 1990 Sesqui 1990 1970/80s a major questioning of new zealand identity a festival that was staged in Wellington, “ A spectacular commercial and administrative failure, “ subsequently become an icon of corporate mismanagement within New Zealand popular culture. material progress British heritage immigration ‘commemoration’ not ‘celebration’

0 notes