Category: visual

Australian Aboriginal Art And Immanuel Kant

“There is beauty here in exactly the way that Kant meant the word, a beauty that comes from the pleasure of looking at designs that ‘mean nothing on their own.’ … The problem is that … Aboriginal artists aren’t working with anything like a Kantian conception of a free play of the faculties and they have, in the vast majority of cases, no interest in the idea of abstraction as that idea emerged in … painting in the 20th century.”

Conserving Art In Front Of An Audience – A Good Idea?

While it undoubtedly generates interest, what is actually gained from watching conservators working? Conservation has become an increasingly painstaking and intricate process, in which the conservator might sit for hours peering through a binocular microscope making, at the most, small twitching movements with a cotton swab or scalpel, or entering extensive documentation of observations on a computer. This has limited appeal for a visitor.

Documenta Lost Even More Millions On Athens Than We Thought

“A final audit has revealed that the deficit caused by overspending in the 2017 edition of Documenta, the contemporary art exhibition that takes place in the German city of Kassel every five years, is more than €2m wider than originally calculated.” The total deficit on the event, €7.6 million, is attributed on overspending on Documenta’s extension to Athens.

In Search Of Less Wealthy Visitors, Louvre Starts Monthly Free Saturday Nights

“The world’s most-visited museum previously opened for six free Sundays a year, but a statement published Wednesday said this was failing to bring in visitors from a broad spectrum of society. … The Louvre is hoping to appeal to more people living in poorer Paris suburbs as well as to young adults and families with older children with the initiative.”

How To Look At Art?

Art is regarded as part of a wide aesthetic world, not sealed in a vacuum, so Robert Gober’s “Untitled Leg” spurs associations not just to Duchamp’s 1917 readymade urinal “Fountain,” Meret Oppenheim’s 1936 “Object” and Duane Hanson’s 1970s Madame Tussaud-like sculptures but also to an Alfred Hitchcock movie and Oz’s Wicked Witch of the West.

Struggling To Find The Aesthetic Self(ie)

Consuming these images is stultifying. To be digitally femme means to bathe anxiously in the images of others and act impotently in response, liking a photo or congratulating others on their beauty. More stultifying is that this is done in spite of knowing the effort that went into each composition. The selfie is a cover-up, hiding both the means of its own production and the true self.

Changing Museums’ Wall Texts To Acknowledge The, Well, Problems With Certain Artists

“While museum wall labels were once used to explain the ‘title, artist, date’ status of an artwork, they’re quickly becoming a place to spark debate, rewrite history and acknowledge untold stories. In light of the #MeToo movement, wall labels are finally starting to include the controversial information that surrounds an artwork or artist. It could soon become the expectation.”

Why Museums Shouldn’t Return Colonial Cultural Treasures

Turning the past into a morality play, in which grandstanding politicians and academics act as saviours, can have deleterious consequences for the way we understand it. Looking back on earlier times is a privileged and elevated position from which to view it, one that is often distorted by current preoccupations and interests. It’s easy to launch a press conference and condemn colonialism, after all; what’s harder is tackling contemporary social problems, and Macron faces and ignores many of those. It is important to guard against the simplistic and all too easily acquired feelings of superiority that we can have by surveying the past through contemporary mores, centuries later.