Exhibition Strategies

The article by Steven Lubar, "Inside the Museum: Curating, Past and Present," discusses the history of museum exhibitions and the evolving role of curators. Lubar explains that museum exhibitions were once focused on the objects themselves, but over time, curators began to incorporate more interpretive elements such as text panels, videos, and interactive displays. Today, exhibitions are often designed with a specific narrative or theme in mind, and curators work to engage visitors in a meaningful way. One strategy for creating successful exhibitions is to focus on the stories behind the objects, as people are often more interested in the human connections and emotions associated with artifacts than in the artifacts themselves.

Malcolm Baker's article, "Writing about displays of sculpture: historiography and some current questions," explores the ways in which curators display and interpret sculptures. Baker suggests that curators should consider the context of the sculpture, its intended audience, and the cultural and historical significance of the piece when creating an exhibition. One strategy for displaying sculpture is to create a narrative that links individual pieces together, such as by focusing on a specific time period or cultural movement. Additionally, Baker suggests that curators should consider the physical space in which the sculpture will be displayed, and design the exhibition accordingly.

Micaela Deiana's article, "Handle with Care: The Influence of New Institutionalism on Collection Displays in Italian Contemporary Art Museums," explores the impact of the New Institutionalism movement on contemporary art museums in Italy. Deiana explains that New Institutionalism emphasizes the importance of engaging visitors and creating a dialogue between the museum and the community. One strategy for creating engaging exhibitions is to incorporate interactive elements and multimedia displays. Additionally, Deiana suggests that curators should consider the relationships between different pieces in the collection and display them in a way that emphasizes their connections.

Ivan Karp's article, "High and Low Revisited," discusses the challenges of displaying art from different cultural contexts and the ways in which curators can create exhibitions that are both culturally sensitive and engaging. Karp suggests that curators should consider the ways in which different cultures perceive art and design exhibitions that are respectful of these differences. Additionally, Karp emphasizes the importance of creating exhibitions that are accessible to a wide range of audiences, including those who may not have a background in art.

Juan Francisco Elso, “El Rostro de Dios (The Face of God),” 1987-1988, and “Corazón de América (Heart of America),” 1986, at El Museo del Barrio in Manhattan.

Moving on to Holland Cotter's art reviews, the first review, "Juan Francisco Elso’s Indelible Art of América," discusses the work of the Cuban artist Juan Francisco Elso. Cotter describes Elso's work as a fusion of traditional Afro-Cuban religious iconography and modernist abstraction. Cotter notes that the exhibition does not provide much context for Elso's work, but that the pieces themselves are powerful and impactful.

Installation view of “Felix Gonzalez-Torres,” a show that restages some of work, including “Untitled” (Sagitario), 1994-1995, two circular reflecting pools embedded in the floor of the gallery space.

The second Cotter art review, "Felix Gonzalez-Torres, a Master of Mutability," explores the work of the Cuban-American artist Felix Gonzalez-Torres. Cotter notes that Gonzalez-Torres's work is characterized by its mutability and its ability to change depending on the context in which it is displayed. Cotter explains that Gonzalez-Torres's work is often meant to be interactive, and that visitors are encouraged to take pieces of the installation with them.

Vilhelm Hammershoi, “Interior with an Easel, Bredgade 25” (1912). The painting, constructed from blocks of shadow and light, is perspectival perfection, but also one of narrative mystery.

Finally, the third and final Cotter art review, "The Danish Experience: Art That Marries Real and Ideal," discusses a collection of Danish art from the 19th century. Cotter notes that the artists in this exhibition were interested in capturing the beauty and essence of the Danish landscape, and that their work is characterized by its detailed realism and attention to light and color. Cotter notes that the exhibition does an excellent job of showcasing the diversity of Danish art from this time period, and that it is well worth a visit for anyone interested in landscape painting. Overall, Cotter's reviews highlight the importance of context and interpretation in the experience of art, and the ways in which exhibitions can shape our understanding and appreciation of artistic works.

In conclusion, exhibitions are important not only for displaying art but also for creating a unique experience for visitors. The strategies employed by curators vary, from traditional chronological or thematic arrangements to more experimental approaches that encourage visitor participation and interaction. Lubar, Baker, Deiana, and Karp each provide valuable insights into the different approaches to curating exhibitions, and their ideas can be applied in different contexts to create engaging and thought-provoking exhibitions.

When it comes to reviewing exhibitions, Holland Cotter is a master at weaving together historical context, aesthetic analysis, and personal reflection. In "Juan Francisco Elso’s Indelible Art of América", Cotter explores the impact of the Cuban Revolution on Elso's work and the relationship between art and politics. In "Felix Gonzalez-Torres, a Master of Mutability", he discusses the use of everyday objects in Gonzalez-Torres' work and the emotional resonance of his art. In "The Danish Experience: Art That Marries Real and Ideal", he examines the role of art in containing chaos and the tension between fact and emotion in Danish art of the 19th century.

Combining the insights from Lubar, Baker, Deiana, and Karp with Cotter's reviews, we can see that curators can create engaging and thought-provoking exhibitions by taking risks, experimenting with different approaches, and considering the broader historical, social, and cultural contexts of the art they are displaying. Exhibitions can provide visitors with unique experiences that go beyond the traditional display of art, and they can help us better understand the world around us and our place in it.