Visual Methodologies

(Professional Context 1 Learning Journal)

Up to the end of the 18th century, museums were ordered quite randomly, but since, they have evidenced categorisation, mirroring growth of the prison system, a disciplined surveillance, and social and cultural structures. The order of artifacts orders people and races, and places them as art or not art. More primitive work is allied with nature, and not art, objects of the west are seen as part of elevating culture, and thus art. Architecture articulates these discourses - imposing and inspiring. Institutional experts underlined these policies of capitalism, patriarchy and racism.

Displays in anthropological museums may be manipulated to naturalise patriarchal values, with gender dominance of animal groups. In the 19th century galleries usually showed paintings floor to ceiling. We space out individually as more categorisation, creating a pathway - also in the 20th century more search in art for universal truths - side by side encourages contemplation, relationships - both the image and the viewer are individualised.

Extract from Rose G (2001) Visual Methodologies: An Introduction to the Interpretation of Visual Materials, Sage.

Reflection 

In visiting a gallery or museum, I like to be aware and to consciously enter into the type of experience being presented. In a grand type of museum like the V&A or the Wallace Collection, I do feel elevated and enriched by the culture and empire which built that. I enjoy the walls and the marble floors and the sound of my feet echoing. I'll behave appropriately, and feel very naughty if I am caught giggling with someone, or with my mobile on. In such a place I appreciate the juxtaposition of contemporary art, to keep the place alive, to add another layer of time, to reconstruct and unpeel a strand of history.

In galleries I often question the hanging and framing choices, and see what solutions have been found for labelling and so on. There is no one-size-fits-all solution. Even white cube spaces have irregularities. A clear plain space with a few odd corners is my ideal for showing art - a basic spacing out but having to respond to the venue.

I have made work sympathetic to the space - it can be another frame, another material or consideration to factor in - it needn't be a compromise - there is a solution to make it an advantage.

The awareness talked of in the text, the spacing, who the audience is, who the expert, what are the expectations, the assumptions, the politics, the history...these factors all frame the art with layers of context, and are specific to each venue and exhibition.

21st April 2011