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The viewer is no longer isolated in space, but must either isolate himself or allow the piece of art to modify the space in which he finds himself. We notice a radical shift of ideology. The exhibiting space no longer protects the exhibited object. It is the exhibited object which modifies the perception of the environment in which it is situated.
Looking at the trends which have been manifesting in the past years, we realize that important changes have occurred. These changes have artists either use the exhibiting space in order to enhance the message communicated by their work or to reach a large number of people, surely larger than the one they could reach by exhibiting in a classic type of gallery.
It is safe to assume that such a change has a certain impact upon the very creation process. This one...
In other words, if one knows that he will be able to use a certain environment in order to control the viewers' perception and enhance their experience, they will proceed in a certain manner, different of course from the one of someone knowing that his oil paintings or sculptures or drawings or photos will be exhibited as images on a HD screen in the middle of a huge square where hundreds of thousands of people pass everyday.
Bibliography:
O'Doherty, B., McEvilley (Intro). Inside the white cube: the ideology of the gallery space. Expanded edition, Univeristy of California Press, 2000
http://helloyoucreatives.com / http://www.artbelow.org.uk/ab/Home.action http://www.saatchionline.com / http://trendland.net
Bibliography:
O'Doherty, B., McEvilley (Intro). Inside the white cube: the ideology of the gallery space. Expanded edition, Univeristy of California Press, 2000
http://helloyoucreatives.com / http://www.artbelow.org.uk/ab/Home.action http://www.saatchionline.com / http://trendland.net
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