Aims//
To examine the historical development of practices of institutional critique in relation to the corresponding development of the modern art gallery.
Objectives//
1// To demonstrate the importance of the art museum to the rise of the bourgeois public sphere in the 19th century.
2// To analyse Peter Burger's theorisation of the twin development of aestheticist (formulist) art practice and critical avant-gardism in the first three decades of the 20th century.
3// To consider the postwar critique of the convention of the white cube through attention to Brian O'Doherty's Inside the White Cube and Michael Asher's 1974 Claire Copley Gallery installation.
- Modern art musems have been developed into public exhibition spaces and have been generated to gather a visible presence of a social body, gathered to appreciate the achievements of its society. By creating a sense of belonging, the museum spaces serve to mystify the role of the individual within society.
- Capitalism makes people believe that we must sell in order to live.
- Capitalism generates a single fundamental class division between the bourgeoisie (who owned the means of production and the proletariat (who sold their labour for wages).
- Social institutions such as the church, schools and the press play an important role in propagating ideologies that support existing relations of production and support dominant class interests.
- Within the rise bourgeoisie came the rise of public art museum.
- Understanding how ideology functions as a particular set of culturally shared assumption that have the appearance of being timeless and natural, but in essence are historically determined and culturally specific.
- Marx ideology is grounded in relations of production within society.
- Marx beliefs and assumptions that societies hold their collective consciousness. Directly linked to the means by which society sustains and reproduces itself physically and materially.
- A society that gains wealth by working land will possess different collective beliefs to a structure that has a very developed level of industrialisation.
- Marx 'It is not the consciousness of men that determines their existence, but their social existence that determines their consciousness'.
- Following from the development of the Louvre throughout the 19th century, public exhibitions of art increased in popularity.
- The development of public museums and exhibitions in the 19th century generated spaces for the representation of cultural life and the production of public audiences.
- Institutions comprising 'the exhibitionary complex' were involved in the transfer of objects and bodies from enclosed private domains.
- Formed vehicles for inscribing and broadcasting the messages of power throughout society.
- The Great Exhibition at Crystal Palace consisted in relations between the public and the exhibits so that while everyone could see, they could also be seen, thus combining the functions of spectacle and surveillance.
- Creating an environment where people coudl witness their own inclusion within a larger social body.
- Through the progressive removal of art's representational function and enclosure within the museum spaces came a separation between art and life so that modern art came to comprise a direct and individualist address to the audience's aesthetic sensibility.
- Ideas of expressivity, tastefulness and beauty were at the heart of the aestheticists doctrine. Colour was understood to be an inherent expressivity that stood for the artist's inner sensations.
- Colour used in paintings became unnatural.
- Aesthetic Hypothesis which introduced the idea of significant form, which centred around the idea that what was of importance in visual art was the capacity of a work's formal organisation to provoke an emotional response.
- Modern art became independant from the natural world, art became about evoking an emotion rather than staying true to natures characteristics.
- Artists tried to create an emotional encounter within their subject, generating a unique visual language through which those feelings were conveyed.
- Art became autonomous.
- Abstract art no longer reflected upon social reality and came to focus the production and reception of art towards disinterest and tastefulness.
- Burger emphasises on the institutionalisation of a particular set of values, practices and modes of encounter in which individuals might discover aesthetic emotions that are independant from practical life.
- Marcel DuChamp submitted a urinal for an exhibition was denied, this intervention then provided the object with art status, by virtue of its standing in for, or as material documentation of, the act of submission or nomination as art.
- The act of refusal was an acknowledgement of the object, which later paved the way for its acceptance as a form of art, or rather anti-art.
- DuChamp highlighted theseparation that had been drawn between art and life.
- What differentiates works of art from other objects in the world. What makes them different is what we do with them and what we say about them.
- The physical manipulation of the gallery environments changed the ways that architectural divisions of interior and exterior space and subdivisions of interior space functioned, changing the relations between viewer and gallery and the viewers attitude towards the objects/ scenarios presented within galleries.
- Underlying acts of contemplation before exhibits in art galleries is a set of social agreements, generated throughout the history of public art exhibitions that orient the actions of individuals within these space.
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