Spaces of Experience: Art Gallery Interiors from 1800 – 2000: Difference between revisions
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== Notes == | == Notes == | ||
This an extract from the article https://www.e-flux.com/announcements/262138/colour-critique/ ; also adressing the book called " Spaces of Experience, Art Gallery Interiors from 1800 to 2000" from Charlotte Klonk. | |||
=== Spaces of Experience, Art Gallery Interiors from 1800 to 2000 - Charlotte Klonk. === | |||
"In her influential book Spaces of Experience, Art Gallery Interiors from 1800 to 2000, Charlotte Klonk establishes a '''link between the consumerism of the 1950s and the rise of the white cube''' as spearheaded by the Museum of Modern Art in New York. She concludes that the white cube was elected as the preferred exhibition interior because it was seen as the ideal environment to '''educate the tastes of its visitors'''. A skill—as it was argued by MoMA’s founding director—that could then be put to use in the budding consumer society of the time. Klonk thus points out that there is a nexus between art viewing and consumerism, one that has been actively supported by the white cube formula. If we bring this conclusion into the present, following Klonk, we might ask: | |||
*how does the exhibition experience relate to the choreography of desire that is created in today’s attention economy? | |||
*What role does the exhibition space and the way it is fashioned play in light of the current visual economy, as one that is increasingly characterised by online platforms and forms of consumerism in which images play an ever more important part?" | |||
Revision as of 18:48, 22 September 2021
Notes
This an extract from the article https://www.e-flux.com/announcements/262138/colour-critique/ ; also adressing the book called " Spaces of Experience, Art Gallery Interiors from 1800 to 2000" from Charlotte Klonk.
Spaces of Experience, Art Gallery Interiors from 1800 to 2000 - Charlotte Klonk.
"In her influential book Spaces of Experience, Art Gallery Interiors from 1800 to 2000, Charlotte Klonk establishes a link between the consumerism of the 1950s and the rise of the white cube as spearheaded by the Museum of Modern Art in New York. She concludes that the white cube was elected as the preferred exhibition interior because it was seen as the ideal environment to educate the tastes of its visitors. A skill—as it was argued by MoMA’s founding director—that could then be put to use in the budding consumer society of the time. Klonk thus points out that there is a nexus between art viewing and consumerism, one that has been actively supported by the white cube formula. If we bring this conclusion into the present, following Klonk, we might ask:
- how does the exhibition experience relate to the choreography of desire that is created in today’s attention economy?
- What role does the exhibition space and the way it is fashioned play in light of the current visual economy, as one that is increasingly characterised by online platforms and forms of consumerism in which images play an ever more important part?"