A visit to an art institution is expected to require visitors displaying certain etiquette and adopting certain social conventions. For example, the architecture of the building and the physical context of the galleries as well as the spatial arrangement and the gilded framing of the exhibits seem to raise certain expectations while informing and shaping visitors' decorum. Nevertheless, visiting a museum is also a social event with the majority of visitors arriving as part of a group. Following Goffman's dramaturgy and frame analysis theory, this article draws upon videotaped fragments of visitors at least in dyads at the Courtauld Gallery, London, UK, in order to explore their embodied visiting and viewing practices. By focusing on the ways visitors connect with the collection as well as socially share parts of their experience with each other, this article aims at challenging the notion of the visitor being static and the museum experience being ocular centric.
The perception of three-dimensional sculptural forms is quite different from two-dimensional art works such as painting and drawing. Though both are considered forms of artistic production, the distinction is the tactual and kinesthetic sensations of the three-dimensional sculptural forms. The understanding of the perception of sculptural forms adds another dimension to cognitive and emotive qualities embedded in art. The emotions evoked while observing, knowing, touching, and feeling a sculpture, as well as the experiences of working, creating, and producing one, affect an individual’s perception. People with dementia who develop visual and perceptual difficulties may gradually have a different experience of sculpture. The materiality of a sculpture and its tactile engagement have the capacity to influence their perception. With spatial errors, changes in color, and misperceptions, there is a possibility that they see, appreciate, and experience, in a different way, both physical sculptural forms and those that are mediated through digital technology.
There are various archive exhibitions held in art museums around the world. With the advent of Google, YouTube, digital cameras, and many other technologies, the way of recording and showing artwork has completely changed. In addition, archive exhibition related art has different characteristics compared to history museums and science museums. An art archive exhibition should have a close relationship with the displayed artwork, and it also has to be an artwork itself. It should satisfy the different expectations of visitors such as providing a new sensory experience or artistic knowledge. Also, the importance of archive sessions that can inform the context and meaning of the entire exhibition is growing because understanding the individual artwork is becoming more difficult as most of art has become more conceptualized. This article will present the process of a project our research team has been working on. This project composed an archive session for the robotic artwork from the “Robot Essay” exhibition that opened this past April at the Korea National Museum of Contemporary Art. Our archive session, inter-shelf, focused on how to increase the visitors’ engagement with the art exhibition by using rich and interactive experiences such as books and bookshelves as design motifs. The Inter-shelf consisted of four layers of information including a timeline, video, interactive installation, and real-time info-aesthetic visualization based on the visitors’ survey.