1. What can we learn from the history of exhibition?
2. An exhibition is:
i. Making public
ii. Making an argument
iii. Temporary
3. What is the future of the exhibition?
1. What is we learn from the history of exhibition?
+seculisation: The role of market
The salon de Louvre, academie royal, 1785
The royal academy, 1809
+Education
-The Great exhibition, Crystal Palace c.1851
+plaster cast famous sculptures // the idea of plaster casts to educate Britain
– Royal Academy_ Manet: portraying life:2013
Artworks are surrounded by information ‘/ Ai Weiwei – multimedia guide // present day it is not enough to just see the work we must understand it
2. An exhibition is:
I. Making public:
– Robert Barry, closed gallery piece, 1969
-Maria Elchorn, 5 weeks 25 days 175 hours, 2016 
+both artists closed the galleries for the shows
+Therefore the viewer (the other) is part of the exhibition from the start
+Marcel Duchamp, Etant Donnes, 1946-66
+the viewer is part of the piece as they have to go up to the ‘peep-hole’
+Therefore it is a form of theatre
– Chiharu Shiota, The key in hand, 2015 
– this piece creates a space for the viewer to go, occupies a large space ‘spectacular piece’
II. An argument
Impressionist gallery, national museum of Cardiff
+A set of claims; “the curator has decided that all these things do not belong together”
+Therefore an arrangement determines significance
– Ernst Wilhelm wet at documenta3, Kassel, 1964
– the works are hung on the ceiling // all the dimensions of the paintings disappear, e.g. no top or bottom ect.
+Therefore the objects are evidence
-the degenerate art exhibition 1937
– one of the first “white cube”installation, with intentions to make the room more clinical
https://ichef-1.bbci.co.uk/news/624/media/images/70929000/jpg/_70929584_70913526.jpg
+How does an exhibition handle information?
Like a dictionary? Like a map? Like a magazine?
Dictionary -> Linda Feregni-Nadler, the hidden mother,2013 
Archival show ordered show
Map -> A slip of the tongue, curated by Darius 2015 // works displayed in various spaces (pamphlet with a map of the show)
Magazine-> artesmundi 7 2016 curated by Karen Mackinnon
Presently curated by Tobias Rehberger 2016
+what is the relation between space, support and the object?
Walker art gallery Liverpool
– the uniform plinth in bobs installation are part of the argument
+where does the plinth end and the sculpture begin?
– Constantin Brancusi, The kiss column, 1935 // Eileen lane 1923 
-Rebecca Warren, The Li vi ng, 2013
+The plinth is an element of the exhibition is problematised
3. An exhibition is temporary
– Therefor it is an event
-Adrian Villarreal Rojas, today we reboot the planet, 2013
– giant elephants bum, played with the space as the exhibition was temporary
-Therefore the statement it makes is always provisional and can be revised
It is never the final word
-Claude Monet, Agapanthus triptych, 1915-26 
– see a variety of ways of hanging// they were all sold separately//they are all owned by separate galleries (they are occasionally shown on their own)
What is the future of exhibition?
+is the physical exhibition redundant // virtual exhibition hoseted by exhibit.com, 2015
+why are they around? Countries where contemporary art is less popular this becomes very insightful
-Maria Elcholm, 5 weeks 25 days 175 hours, 2016
-although it’s closed the exhibition space is replaced by a series of online tasks ect, a digital archive
**Edit for Formative Assessment **
This lecture has enabled me to change my views on what an exhibition looks like and how the work impacts the exhibition. For example this changes my ideas for the site venue project, we will be hosting our own event for made in spring and I don’t know what I want to do with my time there, I am allowed to chose what my presentation is like and this lecture has helped me to take more notice on my work. As form my subject work this has made me think more about creating my work with the final exhibition in my mind. E.g. how I want my plinth to fit my book, do I want the plinth to be the size of my book closed or open, do I want a plinth or a shelf, do I want to put my book in a pre-existing library, there are more options than I ever would’ve thought.
UPDATE FOR SUMMATIVE ASSESSMENT : 3RD JUNE 18
After reviewing the lectures we had for the key concepts, I feel that this lecture has been the most influential, it has allowed me to experiment with the ideas of archival and also how plinths are difficult to explain in some art pieces, this lecture really helped me broaden my views on the presentation and documentation aspect of my work and also allowed me to gain further knowledge about artists I haven’t often looked into. Also a positive from this was that Jon gives an amazing presentation and I am always engaged in learning from Jon
Alexandra Fine Art 
