A more holistic approach has been put into account in the architectural design of art exhibition rooms. Also, it has been determined that the correct layout of exhibitions has increased the quantitative and qualitative experience of attendees. For instance, effective layout of art displays has resulted into increase in the number of attendees and more positive feedback from the latter (Lever, 2017). The index for quantify such experience is by determining the duration the attendees spend on various stands. According to Brian O’ Doherty, optimal experience derived from art emanates from subtracting all the clues that suggest that it a piece of art (Lever, 2017). Care should not to place exhibits near electrical equipment that emit excessive light, such as, radiators. Secondly, the exhibition design is also key in coming up with a perfect exhibition.
The use aesthetics that transition smoothly on the walls is necessary for visual appeal. Allocation of sufficient metaphysical space is important to accommodate many attendees as possible without causing any inconveniences. Also, large exhibitions rooms enable the artists to engage with their viewers and gather feedback on the interpretation of their works. Despite the educational value expressed by labeling artworks, the authority of human voice should not be ignored. Therefore human presence and didactics should be used hand in hand to achieve optimal visitors’ experience (Lever, 2017). Also, labeling offers a discussion framework that makes the audience part and parcel of the exhibition. Through discussion, attendees deepen their comprehension on the pieces of art. The artists can accrue more profits from on- point sale of their art since individuals will be willing to buy what they have information on and feel to have a connection to.
The arrangement of these artworks should not cause confusion to the attendees. For instance, the architect’s table 1912 sculpture was displayed; the original artist is Pablo Picasso. This piece of work showed appreciation of the Spanish culture (NGV, 2018). There also existed strips of Vinyl glued to Sommerset paper by applying oil using a paint brush to create the French Simultaneous Contrast of 1885-1941. Also, there was the Gorges Braque’s ‘Soda’ circular artwork that demonstrated the use a variety of lines in an intricate manner to create an exquisite piece of art. Controversial exhibits that would injure the beliefs of certain groups of attendees should be avoided at all cost. Exhibitions have transitioned in the recent past to provide entertainment to its audience and provide a platform for interpersonal relationships where those in attendance converse.
Consequently, national integrity and coherence is fostered. In additions, the uniqueness with which these exhibitions are set up from the traditional setups help enhances visitors’ experience. With modern technological installations the metaphysical space is utilized effectively, and makes the exhibition more exciting to the attendees as it quenches their thirst to explore new technologies in art. Architectural maneuvers that are aimed to manipulate the surrounding environment make the exhibition epic. For instance, the exhibition may be created on a floor of a building that enables the audience to visualize some parts of the city/ town. This kind of spacing is incredibly impactful as it invokes aesthetic thoughts. The exhibition space has been likened to ‘a cloud of glass’ or ‘a sailing ship’ (Lever, 2017).
Some epic exhibition buildings have been made to be one with the horizon; such sites are fascinating to the viewers. One major highlight in the ‘Lightness of Spirit is the Measure of Happiness’ was the Yalingwa Initiative that involved fellowships that resulted to contribution of $60,000 by the South- Eastern icon country musician from Australia that have contributed massively in expression of Aboriginal culture through art. Also, the exhibition of other forms art in the ‘Lightness of Spirit is the Measure of Happiness’ is expressed through narratives, for instance, by Benita Clements from Western Arrernte and visual performances by Peter Waples- Crowe from Ngarigo (Fielding, 2018). Conversely, the ‘130 Years of Modern and Contemporary Art’ only involved sculptures and paintings (NGV, 2018). In addition, Kaylene Whiskey in ‘Lightness of Spirit is the Measure of Happiness’the presented portraits of music icons and legendary actors she looks up to.
From $10 to earn access
Only on Studyloop