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