This was the gallery visit that really clarified for me that I often enjoy the structure around and staging of art / artworks as much as (or sometimes more than) the artworks themselves.
These were some empty plinths I photographed just before (or just after possibly) an exhibition. So maybe it’s not just the structure, but the absence and the possibility that it suggests? Though … no … I don’t feel absence here. These plinths seem just fine as they are 🙂
This is one of my favourite photos from my trip to Shanghai. It’s taken at the Museum of Contemporary Art (MOCA). It’s not an intentional installation (I assume) but very easily visible if you just look down instead of out at the view across People’s Park. It seems so beautifully, accidentally staged. And then there’s the strange, almost face-like shadow on the footpath on the other side of the glass…
Recently I read a (not-so-recent) post on the Open Objects blog in which the author was reflecting on a visit to the Museum of Old and New Art (MONA) in Hobart, Tasmania. The comments in the post about the experience of using the “O” device in particular prompted me to reflect on my own preference for avoiding the device and exploring the museum’s space and collection unchaperoned.
On my first visit to MONA, shortly after its public opening, I collected and engaged with “O”. It appeared, at that point in time, to be an essential part of the visitor experience. However, on every visit since then, including visits to new exhibitions, I’ve felt as though the “O” would restrict rather than enhance my experience.