Exhibition Proposal:
We came together as a group because all our work plays and negotiates with issues of texture and form. Many of our pieces also engage with the surrounding space, by utilizing the walls and floors of our studio, which is why we decided to exhibit our work in the archetypal white gallery as our work would then be in command of the space.
We all use a wide variety of materials to propose various concepts within our work so a site specific space would hinder and obscure the individual reasoning, whereas a Modernist gallery would allow our work to transform the space, not visa versa.
The neutral colouring and smooth linear surfaces of the space will also emphasise the materiality of our work, which is the uniting motif of our exhibition.
We hope to present a collection of mixed media work with some pieces even edging towards craft. By choosing to present our work within such a traditional twentieth century setting, we hope to assist in helping craft and mixed media artworks get the recognition and reputation they deserve.
By forcing craft and mixed media artworks to be exhibited within the art world's most accredited environment perhaps we may challenge the notion of what is to be expected when visiting a small, independent gallery. Furthermore we believe all art forms should have a chance to be displayed in this sanctimonious, fake atmosphere.
We all use a wide variety of materials to propose various concepts within our work so a site specific space would hinder and obscure the individual reasoning, whereas a Modernist gallery would allow our work to transform the space, not visa versa.
The neutral colouring and smooth linear surfaces of the space will also emphasise the materiality of our work, which is the uniting motif of our exhibition.
We hope to present a collection of mixed media work with some pieces even edging towards craft. By choosing to present our work within such a traditional twentieth century setting, we hope to assist in helping craft and mixed media artworks get the recognition and reputation they deserve.
By forcing craft and mixed media artworks to be exhibited within the art world's most accredited environment perhaps we may challenge the notion of what is to be expected when visiting a small, independent gallery. Furthermore we believe all art forms should have a chance to be displayed in this sanctimonious, fake atmosphere.
Inside the White Cube: The Ideology of the Gallery Space
Brian O'Doherty
The white cube, un-shadowed, white, clean, artificial, an evenly lighted ‘cell’, was crucial in making Modernist art appear to be art.
The increased value of certain artworks can be charted alongside the evolution of that artistic space.
A lasting trait of Modernism is that the space is now seen before the art.
The white, ideal gallery subtracts from the artwork all cues that interfere with the fact that it is 'art‘- perfect for craft and mixed media work!
Work is isolated from anything that would detract from its own evaluation of itself
- Connotations of the white: sanctity of the church/ formality of a courtroom/ the mystique of the experimental laboratory- all seem foreign to the definition of craft and mixed media
- The object is placed as the medium through which these ideas are manifested and proffered for discussion
- Post-Modernism- context becomes content- so the reasoning behind the exhibition space is of vital importance
- The object introduced into the gallery 'frames' the gallery
- Art is free 'to take its own life‘- mounted/ hung/ scattered for study
Places the audience in a limbolike status- presence of your own body seems superfluous, an intrusion- craft and mixed media work is very approachable and familiar therefore it will add a greater distance
Constantine Brancusi
Muse 1912.
Brancusi took a neutral plinth and sculpted it to relate to the sculpture. The Plinth becomes as much part of the piece as the sculpture itself. Brancusi draws attention to the connotations which a plinth holds.
Roselyn Crousse refers to sculpture as being ‘intrinsically monumental’ and self contained. However during the 19th century site specific artwork emerged which relates to its space.
Institution Versus Own Gallery
Institution
The white cube, un-shadowed, white, clean, artificial, an evenly lighted ‘cell’, was crucial in making Modernist art appear to be art.
The increased value of certain artworks can be charted alongside the evolution of that artistic space.
A lasting trait of Modernism is that the space is now seen before the art.
The white, ideal gallery subtracts from the artwork all cues that interfere with the fact that it is 'art‘- perfect for craft and mixed media work!
Work is isolated from anything that would detract from its own evaluation of itself
- Connotations of the white: sanctity of the church/ formality of a courtroom/ the mystique of the experimental laboratory- all seem foreign to the definition of craft and mixed media
- The object is placed as the medium through which these ideas are manifested and proffered for discussion
- Post-Modernism- context becomes content- so the reasoning behind the exhibition space is of vital importance
- The object introduced into the gallery 'frames' the gallery
- Art is free 'to take its own life‘- mounted/ hung/ scattered for study
Places the audience in a limbolike status- presence of your own body seems superfluous, an intrusion- craft and mixed media work is very approachable and familiar therefore it will add a greater distance
Constantine Brancusi
Muse 1912.
Brancusi took a neutral plinth and sculpted it to relate to the sculpture. The Plinth becomes as much part of the piece as the sculpture itself. Brancusi draws attention to the connotations which a plinth holds.
Roselyn Crousse refers to sculpture as being ‘intrinsically monumental’ and self contained. However during the 19th century site specific artwork emerged which relates to its space.
Institution Versus Own Gallery
Institution
Positives:
The institution has an already established reputation.Assistance with promotion, invitations, curation.Ready made gallery space.Little cost?Professional help.Other establishments/ people already aware of the gallery.
Negatives:
Lack of flexibility regarding dates.High costs of exhibiting?Specific themes imposed- not suitable.Restriction imposed on the space.Competition from other artists.Work has to be deemed good enough.
Own Gallery
Own Gallery
Positives:
Total control on the space chosen. Control over costs.Flexibility on exhibition dates.No restrictions on the quality of work.No rental costs to the institution.Control over how curated.No competition from other artists.
Negatives:
High costs in renting/ buying a building.A lot of work needed to make space suitable- costs and time.Lack of professional help.Lack reputation.Need to do own promotion/ invitations/ curation.Lack of connections.
Why we would like to exhibit in a small gallery space:
-A small gallery space will reflect the intricacy of our work.
-Small galleries can also give the impression of being less successful than larger galleries, with less visitors and less money- an exact reflection of mixed media and craft art work in the industry.
-Some smaller galleries can also create a more unique and individual atmosphere within the space, which can help the exhibition to be more memorable.
-Smaller galleries also do not carry the same quantity of ideological baggage
No comments:
Post a Comment