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Dulwich Picture Gallery

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Within the realm of artistic vocabulary, there appears to be favourable and significant words to use when concerned with describing the visual elements. Amongst these are the words ‘aesthetic’ and ‘contextual.’ It is important to have a deep understanding of what these words truly mean when referring to design, in this case exhibition design. ‘Aesthetics’ are used in accordance to describe philosophically the sole beauty of an object irrespective of its history or purpose. I believe it is within innate human nature to have the ability to determine, appreciate and judge whether something is beautiful; ‘aesthetics’ is, to a degree, based on personal judgement. However, we do not have the ability of good judgement without experience, as Robert …show more content…

Not only is there a captivating permanent collection that ‘houses one of the finest collections of Old Masters in the country’ but also a collection of ‘diverse and critically acclaimed year round temporary exhibitions’ which complement this, such as the current exhibition of the war artist, Eric …show more content…

Due to Craig-Martin giving certain rooms to specific curators, each of these rooms have decided to follow a certain theme of the curators choice who has been given this room. For example, Jock McFayden decided to concentrate on the subject of ‘radical landscape’ with the room he was given called the second gallery space. However, he found himself drifting away from and broadening his interpretation of the theme to more of ‘an idea of Britain now’, which demonstrates how fluid and compromising exhibition design can be in regards to its aesthetics and the original ideas for the space. Conversely, ‘Ravilious’ exhibition design followed a theme in terms of subject matter in each room, which was concerned mainly with the aesthetics of the work, however ‘The Summer Exhibition’ as a collection of rooms is contrastingly athematic. The design of ‘The Summer Exhibition’ had a variety of reasons as to why the work was grouped the way it was in each room varying between aesthetically and contextually. Examples of where the theme was concerned with the aesthetics were in The Architecture Gallery where the work displayed was predominantly 3D sculptures exploring an architectural idea and in Gallery Four (IV) where David Remfry had a clear starting point for the selection of works in this gallery as he

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On Friday, October 2nd, I visited the Wittliff art collection at Texas State University. I was very excited at how much art I was going to see as I made my way to the 7th floor of the Alkek Library, which is where the Wittliff art collection is located in. Sadly, with all of the artwork that was displayed, I was having trouble deciding on which art pieces to write this critique on. However, two certain 2-D pieces caught my eye. Out of all of the displays in the art collection, I ended up choosing Keith Carter’s photograph and Kate Breakey’s painted photograph.

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They both seeks freedom from the traditional art’s narrative and description of the literal visual world. Trying to free painting from the limitation of representational association, Wright focus on the juxtaposition and reverberation of pure primary and secondary

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Thesis: Thornton Dial’s artwork invites the viewer to reexamine the importance of insignificant, everyday objects through his use of mixed media. The background is comprised of small wooden blocks that roughly form outlines of one-story houses. There are five houses in all, each possessing a small cloth bundle in the center. From left to right, the colors of the houses are yellow, orange, purple, orange, and red. In between the houses are bits of painted cloth, metal wiring, and thick layers of light blue paint.

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858 Words | 4 Pages

Appleton Museum Report On September the 26th, as I walked the halls of the Appleton museum, I was overwhelmed at the sheer number of cultural significant works of art. With so many to choose from it was hard to settle on just four from the different categories to write about. The four works that follow are just a hand full of the art that really caught my interest. 1.

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1718 Words | 7 Pages

The piece in the Victoria and Albert Museum in London was originally named Ice Blue and Spring Green Chandelier. The museum commissioned Dale Chihuly to make a piece of art for the dome area of their main entrance, that would mark the explicit statement which was the museum’s commitment to contemporary art and design. Furthermore, they wanted the chandelier to be ready for their opening exhibition, ‘A Grand Design’. The museum had to go through renovations, enforcing the roof and ordering a new chain for the sculpture to be able to stand. In addition, Chihuly’s piece brought plenty of visitors to the museum, by completely changing the charm of the main entrance.

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808 Words | 4 Pages

The Isabella Stewart Gardner Museum showcases Mrs. Gardner 's collection to the public in greater Boston area. Each room functions as a pilgrimage, as one travels through various countries and time periods ending at the chapel and subsequently the Gothic room. In this paper, I will examine the Gothic room 's theme in relation to the placement of its objects. I will also evaluate the room 's strengths and challenges in serving the public, and how the practices employed in this room fit into the context of accessibility for the entire museum.

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735 Words | 3 Pages

Upon visiting the Huntsville Museum of Art, I was very surprised to find all of the tremendous galleries that were currently up at the museum. In addition, after exploring the entire museum there was one gallery that really intrigued me, and this was the gallery of Antoine Ponchin and his son Jos. Henri Ponchin. What made the Ponchin gallery so interesting to me was both the father and the son were landscape artist. Moreover, both Ponchins travelled to many locations to paint magnificent pictures. Choosing a picture to paint about from this gallery was a challenge for me mainly because both Antoine and Jos.

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1389 Words | 6 Pages

Conclusion I have shown how the change in the social thinking of Manchester since the 19th century has brought the change in architecture, which has shaped the city to the socially and creatively inspiring city it is today. From the countless reinventions of the Cornerhouse to occupy the citizens creatively, to the problems brought along with that along the way. On the most part, the ideas Cornerhouse had became successful, although some lasted longer periods than others there wasn 't a particular bad idea as they were all based on the social situation at the time they were opened.

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Beyond the idea of communicating knowledge and narrative, another approach is to shift attention from theory to practice to see how structural or landscape elements could be seen as ‘performative’ in a spatial sense of Dicky White Lane. The landscape element is defined and treated in a new way as a tactic to perform the spatial and the integration within the space. In interval or ‘folly’ in the exposed brickworks of heritage city of Launceston and people’s working life, the intervention is to propose a landscape to cover some part of this hidden laneway. The sprouted geometric furnishings and the narrow laneway create the ambience in Dicky White Lane and where it encouraging the passer-by to freely participate with the space to lunch, chat, or picnic on this ‘pocket’ park. The impression is about

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In contrast, the Council tracing board is far less overt. It offers a view into an historic moment, acting more as a photograph of an event than a reference for symbolism and learning. Yet, as the viewer takes time to enjoy the scene arrayed before him, the sub-text of the painting comes to light. Whereas with the Royal Arch board I started at the bottom and moved up, for this piece I find myself starting at the top and moving down.

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406 Words | 2 Pages

Avocations celebrates the artistic works of 20 Douglas College students and staff, showcasing their ceramics, jewellery, paintings, and photographs in the Amelia Douglas Gallery. The exhibit runs from October 29 to December 11. “I would encourage all Douglas College students to come to the Avocations exhibit and see how others express themselves through their art,” said Rose Gindl, a student in the Music Diploma program who’s artwork is in the exhibit. “It just may spark an idea and cause you to step out onto your own path to creativity.” For the exhibit, Gindl submitted three 16” x 20” canvas prints of photographs she had taken in Molson, Washington.

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1164 Words | 5 Pages

Wells used real-life objects to incorporate into these two pieces, which gave the viewer a sense of human connection. The collages and mixed-media pieces made up the whole front room of the exhibit. Moreover, the small back room consisted of the ink on paper pieces and the dolls. All the ink on paper pieces in the back room were black ink on white paper. Wells' take away from these pieces is to look at them and have the viewer interpret them as they see them.

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1427 Words | 6 Pages

Marketed to those cramped in developing cities, Downing’s work spread pastoral ideals of small town living. His works included sketches of modest cottages surrounded by greenery and space. This work would have surely resonated with the urban middle and upper class, who had the means to commute and live this idealistic lifestyle, and it would have tugged at the heartstrings of the working class, who were stuck in the cities. These facets of inspiration directed how Olmsted thought individual ought to interact with parks and open spaces. On top of Downing’s work, Olmsted’s trip to England in 1850 heavily influenced his landscape design tendencies.

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315 Words | 2 Pages

We all continue to live in a world surrounded by varyng forms of art, music, painting, literature, and all these are results of creative human activity in which materials are formed to show an idea or a thought of communication. I believe arts are meant to aid in understanding our past, describe the present and predict the future. “The Weather Project” by Olafur Eliasson managed to create an interesting presentation of the weather. The exposition seems to initiate an impressive tension between the city and nature. The room is encircled in natural elements sun, mist, light and by introducing these natural elements Ellison seems to persuade viewers to entirely appear themselve in the space and the exhibition.

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853 Words | 4 Pages

Architectural expression: Art [Kunst] Responsiveness to factual circumstances and refinement were prerequisites for achieving 'building'. However, to achieve true architecture, one still needed to elevate 'building' to 'building-art'.26 This artistic component regarded mainly the 'form' – the visible, external appearance of the building - which matured during the final stages of the design process, following the resolution and consolidation of more essential, underlying factors, such as the construction.27 Indeed, the form depended on the essence of the building because, to be true, the form should clearly express this essence – the building as it really was; being shaped out of its means and purpose.28 Through construction, the form could

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