Interpreting Exhibitions - Report Example

Synopsis Nowadays, most museums have resulted to exhibit bigger and better blockbusters which create public expectations and push their revenues. It is obvious that museums are not merely judged on the basis of the quality of their exhibition or careful collections but others qualitative measures related to audience numbers and financial viability within the corporate model counts as well. An expanded geographically and culturally diverse audience has also been a factor to consider when selecting the blockbuster exhibition. At the same time, there museums adopt a blockbuster model which address a more controversial measure of successful exhibitions. The argument presented is that museums have certain motives and predetermined measures that lead to selection of blockbusters. Of course it is hard to generalize that all museums and all the blockbusters based on public’s limited understanding and stereotypes of ‘great artists’ and the ‘masterpiece mentality’. However, it possible argue that, by looking at how some museums in Sydney have innovatively presented its major blockbusters’ exhibitions, the model adopted is more useful to meet the financial objectives, aesthetic features and long-term visitors’ development with more features concentrating on attracting culturally and linguistically diverse audiences rather than academic purposes. The strong influence of the government and General Corporation is apparent in blockbusters’ exhibitions which lead to commercialization of most of these exhibitions. Lecturer: Students Name: Word Count: 2930 Commercialization of Blockbusters due to public’s limited and stereotypical understanding of ‘great artists’ and the ‘masterpiece mentality’ Introduction The recent rise of blockbusters in museums have provoked a question on lasting educational value of exhibitions as most are seen to serve the purposes of generating revenues. While it is imperative for curators to recognize and focus on intellectual, historical and aesthetical nature of the work of art, most large blockbusters do not serve these critical purposes. The essay argues that most blockbusters increasing serve some interests of the public, seek media coverage and focus more on social activities rather than education. Most of the features that are emphasized by blockbusters are limited as per the expectation of the audiences with limited understanding about the purposes of the work of art. Undeniably, some exhibitions that are rarely exhibited are important works that can serve better scholarly study and aesthetic pleasure alike. However, their importance have been obscured or altered to fit the general audience instead of serving a small group of scholars. The imbalanced focus has been at the expense of literal and figurative aspect and does not have any permanent contribution to knowledge. The essay critically looks at reasons for increased blockbusters and factors that make the current blockbusters as mere art of work that only serves the public’s limited and stereotypical understanding of ‘great artists’ and the ‘masterpiece mentality’ and museum’s revenue goals. The discussion will refer to some exhibitions in Sydney that are typical instances of this trend and core ideas from the literature on blockbusters.  Reasons for Increased Blockbusters in Museums Reaching Diverse Audiences Most museums work hard to broaden and diversify audiences as a way to increase visitors’ number throughout the year and increase the public and education programs.1 These efforts help them to meet the expectations as set by the government funders while addressing and reflecting the diverse communities to whom they serve and where they are situated. In reaction to serve these purposes, works of art have been shipped from the country of their origin to larger museums on a loan. These works generated massive visit to the museums and mostly in countries where population comprise of people from different geographical locations or descent. In other places which attract great number of tourists and visitors, such art of work serves a greater purpose showing the appreciation of diversity.2 When no such purpose is apparent, the enterprise is criticized due to motivation behind the whole enterprise. In most cases, some shipped blockbusters incur higher costs and the fact that most diminish or serve no cultural purpose when exhibited in another city. In addition, the museums fail to show any scholarly motivation for carrying out such expensive activities. A good example of an exhibition that went ahead to strike a balance both qualitative and quantitative is the “The First Emperor: China’s Entombed Warriors” blockbuster (images 1 below) at AGNSW. It attracted larger audiences and engaged diverse people as it focused on community building. The First Emperor reveals how museums have come up with a distinct format by modifying the common blockbuster model as a way to target culturally and geographically diverse audiences.3 However, though the exhibition revealed the museums curatorial and collection strength, the efforts of working with external community groups and organizations like museums outside the institution boundaries may all have targeted the bottom line of making more money from Chinese audiences living in Australia. Blockbuster exhibition has become a drug of dependency in most art galleries, a format that has also been successfully applied in Australia.4 The description reveals that blockbusters are addictive and The First Emperor may not be different as the museums may have seen its potential to raise revenues and increase the museum’s exposure to Chinese and other audiences from different countries. A blockbuster like this one represent an avenue for exclusivity of high culture and populism of heterogeneous culture, a paradox that enable it to remain a relevant work of art in the museum. The appeal to popular market and the focus on attracting audiences; the new and old alike has been some of the innate contradictions of such a blockbuster model.5 When considered under those parameters, the blockbusters end up being seen as a commercial venture which capitalizes on audience appeal to generate income. The ability of blockbusters in drawing large crowds of people present most museums with an opportunity to offer current scholarship to vast visitors. They present them in an accessible format so as the people who do not visit the museums appreciate it. In turn, the blockbusters serve a purpose of fulfilling the educational purpose of a learning institution and free will learning. Though it is necessary to provide information in a manner that can be grasped by the larger audience, the museums does it at the expense of their larger loyal supporters. The loyal supporters comes on a regular basis and do not look for collections-based shows. In response to that failure, most museums have reinforced the educative potential of blockbuster exhibitions by accompanying them with lengthy catalogues. In turn, these catalogues are used within the scholarly contexts and are useful to visitors who buy them and thus extend educational capacity beyond. Commercial/Financial Objectives Museums as any other institutions work under a program for its sustenance and expansion. The very paradox of blockbusters thus enables them remain relevant within the viability context. In turn, they have to generate the sensationalism by relying on profit artists and great masterpieces. Most also work on delicately negotiated loans from public or private collections and has to come up with a hook to lure potential visitors with great promises and experiences like never before.6 These objects must be scheduled for the audiences for a short period of time to ensure they do not miss the marketing opportunity. The aggressive promotion and heavy sponsorship end up compensating for the commercial venture. Most merchandise and catalogues, though professionally presented are glossy.7 With blockbusters exhibitions placed at strategic time through the museums’ annual programs, the motivations of such exhibitions can be seen as just to increase revenues by presenting exhibitions that only compare with the limited understanding of the public. The blockbuster may lack the depth when the focus is just on audience attention and thus permanent collections with significant features may be neglected. Most museums are no longer serving the appeal of it’s a small group majorly comprising certain people with membership or scholarly needs. Instead, they have concentrated more of their considerations on diverse taste of first time audiences many who might comprise of tourists with different experiences with blockbusters elsewhere. The Nature and Purposes of the Art Work History and features of Work of Art First, the blockbuster effect can be traced as a historical issue that has developed over the years. In turn, most people and particularly the consumers or the audiences have influenced museums’ professionals on what to present. Museum professionals agree that major works of art cannot be justified unless it reveals and serves a “scientific” meaning including the historical and intellectual purposes.8 When bringing together fragile objects, their visual juxtaposition should potentially expand the audience understanding of various parts and the whole work. It is rather obvious that exhibitions that are of substantial historical value are largely based more on intellectual than marketing considerations.9 However, as Spear observes, the motivation and history of blockbusters that started in 1967 created a public expectations that can only be met with bigger and better blockbusters. Most blockbusters in late 1960s attracted enormous crowds to create unprecedented revenues in art museums by a sense of social ‘relevance’ (Harlem on My Mind) or mass appeal (King Tut).10 The influence brought about by blockbusters had diverse consequences to art historian. It is arguable that even the most exhibitions that have substantial historical (intellectual) value are modified or curtailed both by larger institutions and small museums. On one hand, the policies of most museums have been strongly pressured by the ripple effects of the blockbusters. In turn, even professionals working in most museums find themselves working under short and strict deadlines while contributing to exhibiting catalogue.11 The outcomes in such instances are that most end up failing to emphasize on historical overview. On the other hand, coordination can be hard where curatorial staffs work under daily pressure attending to exhibitions that follow one another in a predictable format. The depth does not matter and permanent collections end up being badly neglected.12 The blame is not sorely attributed to museums visitors who at one level reveal some predetermined expectations when these exhibitions are developed. However, the staffs whose role and titles signifies the concerns and caring for each work of art neglect the great purposes of exhibitions. The rest of the work of art in the institution serves a major purpose during blockbusters’ exhibitions. It is the responsibility of the museum to ensure that the visitors like what they see in the rest of the place. However, the museum panel determines the design of the museum and installation processes. Some paintings and ancient sculptures can end up hanged so high making their sole purpose of being there as decorative. The “great work of art” may not generate the evocative effect to the audiences since they are indistinguishable from the rest of the reproductions. These minor examples may point a larger and serious problem that has been happening in most museums where great works are subordinated to multi-million dollar exhibitions. In turn, most f the blockbusters are promoted through alluring titles that promise a glimpse to great treasures or age. The trend creates an inversion of the basic art-historical priorities which occur due to the effects of installation. Curatorial-scholarly interests may also be subjugated and the originality and integrity of individual works. Any work presented may not wholly and strongly suggest the substantive ideas behind the exhibition when individuals work on a predetermined pattern. The physical attributes of any work of art require research for it to qualify as scholarly catalogue.13 However, most blockbusters hardly emphasize that need and if they do, those catalogues are rare. Ironically, those neglected can be some of the most valuable tools or art work for preparation of museums’ major exhibitions. In addition, works of art that is routinely seen as blockbusters due to their aesthetic, commercial and perhaps historical value are routinely circulated with no art-historical coherence or synchronization.14 It is thus hard to borrow or use such objects for any scholarly purposes. Viewing Experiences Exhibition attendance for blockbusters is mostly mechanized with crowded viewing conditions that end up threatening and dehumanizing the whole experience. So many factors such as step by step study of any work of art are not taken into considerations. The museums concentrate largely on immediate attendance with “huge” gate revenues.15 It is always a complex situation that faces those responsible for bringing exhibitions into respective institutions that seem to concentrate more on marketing or product side and the financial aspects. On one hand, it is possible to argue that museums attempts to recover the payments made to both direct and indirect costs. The net profit has to be larger compared to that of less costly exhibitions. The single-venue exhibition may be considered comparatively since the museum approach the entire annual budget for publications, exhibitions and conservation. The exhibition must also fit with the program which means that some members of the public with educational interest on that exhibition may not have sufficient time to analyze the features. The publication may also have haphazard illustrations for scholarly purposes. External Impact of Partners in Exhibition The role of partner corporations in blockbuster exhibitions makes the focus to expand the marketing reach of great importance. For instance, travelling exhibitions can be good marketing tools as they can generate great amounts of revenue. The exhibition fees, gate-take and those people coming may mean higher membership sales and other renewals. With a programmed exhibition, museums end up working to target fee-based programs, school field trip sales and retail sales. The plans are planned farther to ensure that each exhibition has the potential to attract new audiences. Visiting exhibitions has ended up being tailored as a short-term boost in market or public interest. The goals served by most of them are revenue-oriented than forwarding core education mission in most museums and science centers.16 In turn, the necessary internal innovation of artists has been eroded, the growth or intellectual objects curtailed and human capital. The museums have concentrated on strengthening their institutions year-round by attraction and innovation and not necessarily on education or long-term sustainability. In Australian context, the influence of the government is manifest due to the funding in these institutions and cultural activities as a way to targeted to benefit the local economy. A good example is the partnership between AGNSW, New South Wales and the Museum of Contemporary Art (MCA) to form the Sydney International Art Series. The partnership allows them to bring some of the larger-scale blockbusters to Sydney. The partnership has generated millions of dollars for the state since 2010.17 One of the blockbusters brought to MCA under the partnership was the exhibition of Annie Lebovitz, a retrospective exhibition. Annie is an American photographer and it served the objectives of the museums; to draw the first time visitors and tourist component. The exhibition is a perfect manifestation of how most blockbusters are just a handful of western arts stars and celebrities which only provide an opportunity for visitors to get excited of popular culture similar to what happens in movies or among pop stars.18 The exhibition has aligned with undeniable big business that brings government partnership due to debates of economic benefits that arise by staging such events in the museums. It is arguable that the purpose for bringing Annie’s gallery was to attract new visitors in the venue and to fit within the common corporate mission and objectives. The focus on long-term audience development will mean more visits to the museum but the visitors will only experience less in terms of understanding the historical, cultural and educative relevance of such an exhibition. Global Marketing and Political Factors Australia has seen an increased cross-institutional exchange for blockbusters which allow museums to showcase what is beyond their scope of collection. On one hand, the format allows geographically isolated states and youth to experience these collections. However, the most objective underlying the exchange is to promote exclusive exhibitions to national and international audiences. Once an exhibition has gained massive support nationally, it becomes an economic potential due to loan in other countries. Blockbusters also serves a diplomatic role and facilitate relationships outside Australia, a tendency that has happened from 1970s to advance develop ties with Asian countries including China.19 Though the emphasis for such close ties is always purely academic and educative, the projects have in recent years ended up shifting to domestic tourism or local audience development. Blockbusters have also been used for soft political power with the national government being active in providing policy, financial and insurance support.20 Potential Negative Outcomes The extraordinary costs involved with exhibitions due to insurance, shipping and increased market values place such works beyond a practical reach. In often circumstances, it is hard for curators to balance between the intellectual and financial purposes of most exhibitions. To recover the investment and make sizeable revenues, museums attempt to use the widely influential policies that create broad-based public interests similar to sophisticated marketing techniques. Over the years, the increasing presence of government and corporations in giving support to works of art and recognition of national endowments have also contributed to the popularity of exhibitions but it can end up being detrimental on institution’s budget if they fail to raise the required revenue which can make the operation unsustainable. Resourcing is a critical issue when it comes to blockbusters and can lead to collapse of blockbusters due to insurance, risk management and transport costs involved.21 Conclusion The rises of blockbusters in museums have become a common phenomenon with programs and exhibitions set to serve some commercial purposes. The tendency of blockbusters to generate strong audiences appears like a competition in the leisure market which adversely affect the balance the ambitions for scholarly work. On one hand, the increased presence of the government and corporations in funding and facilitating blockbusters’ exhibitions has led to increased focus on income. On the other hand, the tendency to present exhibitions according to public’s limited understanding and stereotypes of masterpieces has seen curators standardize various types of blockbusters. Most of these exhibitions subject matter is either ancient civilization of a particular targeted audiences or recent stars. In turn, the museums which are cultural institution seem to have neglected the very purpose they would be serving as the goal for more revenue have drawn them away from their role and everyday work. The actual experience of the visitors in a large-scale and crowded avenue when viewing the object has a detriment effect on concentrated or intimate experience someone might intend to have. Annotated Bibliography András, Edit. "The (ex) Eastern Bloc's Position in the New Critical Theories and in the Recent Curatorial Practice." (2013): 43-52. The article discussed the postcolonial turn where there is rise of local nuclei. It sees the rise of micro narratives without the past vertical or hierarchical organization. The shift of curatorial designs has concentrated on regional, cross-regional and in other times transnational network without any formal regularities. It also argues that the “privileged” narratives and art in the Western contexts have promoted marginality raising a position of discourse. Instead of products that are specific and local, the issue, content and message from these works of art are communicated for global public discourse in a manner that is comprehensible to outsiders. Axelsen, Megan, Charles Arcodia, and Taryn Swan. "New directions for art galleries and museums: the use of special events to attract audiences-a case study of the Asia Pacific Triennial." Journal of Hospitality, Tourism and Leisure Sciences 2006 (2006): 1-24. It discusses the changing role of the galleries due to infiltration of new social patterns and demands among diversified visitors. The expectations and experiences that visitors have promote the art galleries to follow a predetermined format or pattern. Similarly, it argues on the increased change of traditional boundaries which were the tenets of functions of art galleries as institutions adopt a dynamic approach to presenting the work of art. Berryman, Jim. "Art and national interest: the diplomatic origins of the “blockbuster exhibition” in Australia." Journal of Australian Studies 37, no. 2 (2013). The author argues on the potential of blockbusters in facilitating relationships beyond the cultural sector of Australia. The events create diplomatic ties and the tendency can be traced as far back to 1970s where the government used them to advance national interests. However, it also criticizes how exhibition have been used for soft political power with the government offering incentives. It has also criticized the shift towards domestic tourism from education and academic purposes. Friedman, Alan J. "The evolution of the science museum." Physics today 63, no. 10 (2010): 45-51. The article looks at museums as part of science-technology centers that has gone ahead to undertake a more extramural and interdisciplinary collaborative projects. The excitement that once emerged from distinct fields does no longer exist as science and technology intersect with humanities and arts. The main argument is that the next generation of artifacts in museums will be inextricably bound together to allow for the exploration of a vital question about universe and the inhabitants. Ganguly, Debjani. "Review of curators Divia Patel, Rebecca Bower and Christine Sumner’s Cinema India–The Art of Bollywood, Powerhouse Museum."History Australia 5, no. 1 (2011): 17-1. The article argues on increased concentration of personalities in museum galleries. The contemporary personalities, mostly in entertainment industry and pop culture have attracted massive attention to visitors. The counterargument is that the museums have shifted from the innate social role to approaches that compares with the interests of the public and constellation of cultures in major cities. Grishin, Sasha. "Uncertainty as a creative force in visual art." Uncertainty and Risk: Multidisciplinary Perspectives (2008): 115. The article address the lack of uncertainty which is a core perceived creative force that has gone back to about 500 years. Certainty is then found through academic practice through a complete knowledge to make the outcome predictable. The training for curators has failed quite a number of representation, perspective, colors and knowledge. Lam, Margaret Choi Kwan. Scenography as New Ideology in Contemporary Curating: The Notion of Staging in Exhibitions. Anchor Academic Publishing (aap_verlag), 2014. The article argues that the possibility of expanding curating notion through conventional museum and the system of exhibition. In turn, they diagnose the obstacles; diagnose situation and opportunities for way out. Curating calls for expansion and may not transform from within if the tendencies of blockbusters follows or revisit the similar pattern. An exhibitory culture will widely affect museums which are already experiencing crisis of identity. O’Reilly, Chiara, and Anna Lawrenson. "Revenue, relevance and reflecting community: Blockbusters at the Art Galley of NSW." Museum and Society 12, no. 3 (2014): 157-170. Discusses the shift museum have faced due to adoption of a corporate model. It highlights the negative factors associated with blockbusters’ model including the political, sustainability issue, audience experience and how the whole process shift towards the western canonical of pop stars. It highlights how the entry of the government has permeated a shift from the thematic and practical concerns or ambition of work of art. The museums have ended up as avenues for attracting audience and increasing profits. The role of institution partnership is also a key theme in the journal. Pennings, Mark W. "Art museums and the global tourist: Experience centers in experience-scapes." (2015). The experience of economy has seen the role of museums evolve to cater for global cultural tourists. The institutions that were earlier serving didactic functions and served with elite cultural tastes has transformed slowly to cater for particular market segments that were not served earlier. The content has also shifted to cater for interests of these new audiences. Rentschler, Ruth, Kerrie Bridson, and Jody Evans. "Exhibitions as sub-brands: an exploratory study." Arts Marketing: An International Journal 4, no. 1/2 (2014): 45-66. The article explores how the continuous adoption of major exhibitions like blockbusters has played a critical purpose as a sub-branding strategy. The focus has been mostly on one location but also incorporate features and data from various comparative purposes. Spear, Richard E. "Art History and the" Blockbuster" Exhibition." The Art Bulletin 68, no. 3 (1986): 358-359. The article covers the history of blockbusters starting from 1967 in Europe and culminating years. It captures the key developments in the past decades including federal insurance, support from corporations and the national exhibitions that makes exhibition popular. It criticizes the way these exhibitions are programmed with curators working under pressure which make such blockbusters neglect permanent collections. There is a complex social and economic interest that spring from the interdependence of museum management, corporations and trustees. Read More

These works generated massive visit to the museums and mostly in countries where population comprise of people from different geographical locations or descent. In other places which attract great number of tourists and visitors, such art of work serves a greater purpose showing the appreciation of diversity.2 When no such purpose is apparent, the enterprise is criticized due to motivation behind the whole enterprise. In most cases, some shipped blockbusters incur higher costs and the fact that most diminish or serve no cultural purpose when exhibited in another city.

In addition, the museums fail to show any scholarly motivation for carrying out such expensive activities. A good example of an exhibition that went ahead to strike a balance both qualitative and quantitative is the “The First Emperor: China’s Entombed Warriors” blockbuster (images 1 below) at AGNSW. It attracted larger audiences and engaged diverse people as it focused on community building. The First Emperor reveals how museums have come up with a distinct format by modifying the common blockbuster model as a way to target culturally and geographically diverse audiences.

3 However, though the exhibition revealed the museums curatorial and collection strength, the efforts of working with external community groups and organizations like museums outside the institution boundaries may all have targeted the bottom line of making more money from Chinese audiences living in Australia. Blockbuster exhibition has become a drug of dependency in most art galleries, a format that has also been successfully applied in Australia.4 The description reveals that blockbusters are addictive and The First Emperor may not be different as the museums may have seen its potential to raise revenues and increase the museum’s exposure to Chinese and other audiences from different countries.

A blockbuster like this one represent an avenue for exclusivity of high culture and populism of heterogeneous culture, a paradox that enable it to remain a relevant work of art in the museum. The appeal to popular market and the focus on attracting audiences; the new and old alike has been some of the innate contradictions of such a blockbuster model.5 When considered under those parameters, the blockbusters end up being seen as a commercial venture which capitalizes on audience appeal to generate income.

The ability of blockbusters in drawing large crowds of people present most museums with an opportunity to offer current scholarship to vast visitors. They present them in an accessible format so as the people who do not visit the museums appreciate it. In turn, the blockbusters serve a purpose of fulfilling the educational purpose of a learning institution and free will learning. Though it is necessary to provide information in a manner that can be grasped by the larger audience, the museums does it at the expense of their larger loyal supporters.

The loyal supporters comes on a regular basis and do not look for collections-based shows. In response to that failure, most museums have reinforced the educative potential of blockbuster exhibitions by accompanying them with lengthy catalogues. In turn, these catalogues are used within the scholarly contexts and are useful to visitors who buy them and thus extend educational capacity beyond. Commercial/Financial Objectives Museums as any other institutions work under a program for its sustenance and expansion.

The very paradox of blockbusters thus enables them remain relevant within the viability context. In turn, they have to generate the sensationalism by relying on profit artists and great masterpieces. Most also work on delicately negotiated loans from public or private collections and has to come up with a hook to lure potential visitors with great promises and experiences like never before.6 These objects must be scheduled for the audiences for a short period of time to ensure they do not miss the marketing opportunity.

The aggressive promotion and heavy sponsorship end up compensating for the commercial venture.

Read More