![]() ![]() In his now classic text Inside the White Cube, the Irish artist Brian O’Doherty argues that attitudes, began to shift in the 19th century as the edge of the painting began to draw attention to itself. Despite some attention to the mode of display, this model did not radically alter until the late 1930’s. In the salon method of display larger paintings were placed higher up and smaller ones lower down arranged floor to ceiling. This may be where O'Doherty has a point about the white cube, as this often not the case. I think it is important to not that each piece of art may require a more individual or nuanced touch when displayed. ![]() So even though it is surrounded by other decorative items, the fact that it was chosen to accompany them ads to the aesthetic as a whole and I believe it would still capture the eye of the viewer, but as the context is now different, they may not spend as much time contemplating the meaning or intentions of the painting as much. I still see it's importance here, as most of will be quite considerate when choosing art for the walls of our homes. When the painting is placed with other objects or as a decorative piece on the wall, it does take on a slightly different meaning. The warm light from the incandescent room lamp also worked well on the painting, as it enhanced the warm reds and pinks on the canvas well. ![]() As the composition is already lighter at the top, lighting it from above feels too amplified and harsh. The low angled light makes the image feel more intimate in a way, as though the viewer is sneaking a peak at the subject from below. Experimenting with specific spot lights also showed good results and it is useful to see how changing the spot light from a high to a low angle changes the mood of the painting slightly. The direct natural light when the painting is on the floor had the most illuminating effect which allows the vibrant colour and impasto knife strokes to stand out. My experiments with lighting it in different ways was also interesting. I could see how that would be valuable in a museum or even a gallery, especially if you wanted the viewer to contemplate the work. As that is the only thing in that area, your eyes are drawn to it without distractions. In the images where the art work is isolated to the blank wall it does give it greater sense of importance. All the walls and floors are an off-white cream colour which don't really have too much control over. As I am in a smaller rental apartment there was only so much I could experiment with. This is an oil painting I created a few years ago. The context was thus irrelevant to what was being represented. The hermetically sealed artwork created an illusion that absorbed and transported the spectator from the space in which the work was viewed into the subject of the work. In these exhibitions, the artist would not be involved in the decisions regarding how the work would be presented or viewed – the distance between one work and another, what the work was shown next to, or the space in which it was shown were not considered relevant to its meaning. ![]() The salon was originally the name of exhibitions organised by the French Royal Academy of Painting and Sculpture (Académie Royale de Peinture et de Sculpture) succeed by the Academy of Fine Arts (Académie des Beaux-Arts) in Paris. From the 18 century until the Modern period, Western painting and sculpture were often shown in a salon – a large mixed exhibition. This reclaimed narrative of political influence emerges only when we recognize the capacity of these artistic documents as legal instruments, and consider how they have circulated through and challenged the limits of both fields they are cross-classified between: art and law.The ubiquitous white cube gallery, now the dominant model for showing art, is a fairly recent invention. However, an expanded lens on the life of the Siegelaub-Projansky Agreement in law yields another legacy for these endeavors, where the Agreement is instead evidenced as influencing artists’ rights laws in the United States, and where its rhetoric of collectivity can be viewed as a radical appropriation of private law in an effort to establish more equitable art industry norms. “The Artist’s Reserved Rights Transfer and Sale Agreement” (Siegelaub-Projansky Agreement) of 1971 and the certificates of early Conceptual art have been considered contradictory for enabling so-called “dematerialized” artworks to be exchanged as any other commodifiable work, thus negating Conceptual artists’ claims of challenging market and institutional conventions. ![]()
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