As a result of further discussion with tutors I realised my area of research needed to be focused on certain levels and that I should redesign what I am trying to curate and to whom.
QUESTIONS THAT MUST BE ANSWERED
Is this an enhancement or a disruption?
This work is acting as an enhancement to what already exists in the art world. What I truly want to do is give those who haven’t have had the opportunity to access art history or theory enjoy the access to online content giving them the tools and the voice to express their interpretation of artworks.
What is the question?
By narrowing down the genre and focusing on the right questions the research question is altered. I am trying to find an enhancement for viewers. The question can be formulated as the following:
How can technology be used as a tool to ease the dialogue between viewers?
I have decided to work on the dialogue between viewers rather than the conversation between viewers and artists.
Dialogue between visitors (with no knowledge of the art world) and visitors (with a decent level of knowledge of the art world) – how do you create conversation?
Intervention planned October 16th. View article for more info.
What is it that visitors want coming to galleries?
In order to develop informative content for my intervention I issued a very simple question to stakeholders. What are you looking for in an exhibit/museum experience? Answers recollected through my interview reveled the same analysis carried by John Falk that outlined 4 factors influencing their memory in an exhibit/ museum setting:
• Things that supported their entering needs and interests.
• Things that were novel.
• Things that had high emotional content for the individual.
• Things that were supported by later experiences.
«I’ve got to feel something in order for my experience to feel memorable. If the art doesn’t make me feel some type of way, I probably won’t care and just keep walking until I can feel something. Usually it comes down to the ambiance and the experience.» Andres Mourelo (film producer)
« Something wild calm and sexy.» Gordon Berger (artist)
«Pour moi la réponse est dans ta question: une experience. For me the answer is in your question: an experience. » Baptiste Pauly (non-artistic professional)
« Good quality air – Inspired by the skill of the painter looking at the ability to create with skill distraction from real world.» Nita Chaudhuri (non-artistic professional)
The most important trait that Falk talks about is how personal identity was the main motivation behind any type of gallery/museum visit. How making it personal changes everything.
“In other words, what typically sticks in a person’s mind as important about their understanding museum visitors’ motivations and learning motivation and learning styles understanding museum visitors’ motivations and learning motivation and learning styles visit usually directly relates to the reasons that person stated they went to the museum in the first place; and often they use similar language to describe both pre- and post-visit memories. The ways in which individuals talk about why they went to the museum as well as the ways they talk about what they remember from their experience invariably seem to have a lot to do with what they were seeking to personally accomplish through their visit. Visitors talk about how their personal goals for the visit relate to who they thought they were or wanted to be, and they talk about how the museum itself supported these personal goals and needs. The insights gained from these interviews led me to totally reconceptualise the museum visitor experience; led me to appreciate that building and supporting personal identity was the primary driving motivation behind virtually all museum visits.” (Falk, 2012, p112)
As purpose of this study – I must focus on what kind of art I want to work on? Define the genre and the medium (if photography why is it easier than painting or sculpture etc)
The first question is what is art? “Well, it’s a subjectively biased interpretation of something – whether that something is an event, a place, a person, or a thing, is irrelevant. It’s the bias that makes it interesting: Monet’s waterlilies are interesting because they show us his unique interpretation of the scene, according to the impressionist school — which is yet another subjective way of looking at the world.” (Thein, 2013).
To focus on a genre – I decided to take personal access into account. Working on contemporary photography. Since I have access to three photographers that are willing to help me, I will pursue my research on this medium as of case study purpose. Hopefully the work produced will be applicable to other areas of art.
Contemporary photography is defined as the later ” Contemporary photography could be described as a photograph from our own time, compared to an image from a much earlier period. A relevant definition of the word contemporary is: “happening in the same period of time..of or in the style of the present or recent times… .” Contemporary Photography is actually somewhere in the space in time between today, and the earliest inception of the medium. There are no bookends to defining a period for “Contemporary Photography”. It is a rolling and evolving view of photography from a contemporaneous moment in time. There are additional windows in this time period. Other terms used for these other windows for looking at photography might be “Vintage Photographs” or “Modern Photographs” . What we refer to as a contemporary print is not a label that permanently attaches to an image. Instead, it is a reference to an image created that reflects our values, challenges and perceptions today or, in reference to a contemporaneous period for that image.”
There has been an everlasting debate around photography as art “What some pioneering photographers recognised straight away was that photographs, like paintings, are artificially constructed portrayals: they too had to be carefully composed, lit and produced. ” (Prodger, 2012)
Thein, M. (2013) The Line between Art and Photography. Web. The HuffingtonPost. https://www.huffingtonpost.com/ming-thein/art-and-photography_b_4297646.html
Prodger, M. (2012) Photogrpahy is it Art? Web. The Guardian. https://www.theguardian.com/artanddesign/2012/oct/19/photography-is-it-art
Falk, J. (2012) Understanding Museum Visitors Motivations and Learning. Web. Googlescholar.https://slks.dk/fileadmin/user_upload/dokumenter/KS/institutioner/museer/Indsatsomraader/Brugerundersoegelse/Artikler/John_Falk_Understanding_museum_visitors__motivations_and_learning.pdf
Koslove, G. (2015) What is Contemporary Photography. Web. photography. https://fotorelevance.com/what-is-contemporary-photography/