Looking at Landscape

Looking at Landscape examines different ways landscape can be expressed and understood, through the eyes of colonial artist John Glover (1767–1849) and artists who have entered the Glover Prize for landscape painting. In launching the book author and art critic, Peter Timms said:

“This is a book that encourages pleasure, and exercises the mind. It takes the anxiety out of art appreciation… The book is a conversation. Not much writing about art is a conversation. Most of it is, on the contrary, didactic and pedantic. Jane invites us in. We feel we’re exploring with her, not being fed information. We are asked to explore art and nature – and our own perceptions and prejudices.”

Price : $19.95 (FREE handling & postage within Australia)
Order : info@johnglover.com.au

Is Mona smiling or laughing at us?

The extraordinary visitor statistics for Dark Mofo would have been unimaginable even five years ago. The grand scale of the enterprise and the tendency to the spectacular make this almost irresistible.

There is always plenty to do so that everyone is bound to find something to make the visit a positive one.

Art at Mona is presented in a take it or leave it kind of way, which means that it is a safe place to visit as there is no obligation to like whatever is on offer. But just how much of the art do viewers look at, let alone really engage with? And does it really matter?

You can read the complete Mercury Newspaper Talking Point article at: http://www.themercury.com.au/news/opinion/talking-point-is-mona-smiling-or-laughing-at-us/news-story/6120eaca61eb7368a15c81303deb104e

Engaging Strangeness in the Art Museum: an audience development strategy – Museum & Society, Mar 2012. 10(1) 1-14 © 2012, Jane Deeth. ISSN 1479-8360

What is the public art museum’s role in enhancing hesitant viewers’ engagement with contemporary art, especially its more challenging and conceptual aspects? In considering this question, the notion that contemporary art is too difficult for general audiences to engage with directly is refuted. It is suggested that the capacity for viewers to make sense of contemporary art, understood as the discursive practices that have come to the fore since the 1960s, is hindered not by the art but by the art theory that hesitant viewers employ. As representational and formalist aesthetic codes remain the dominant modes of responding to art, for the art museum to become more inclusive, there needs a greater emphasis on discursive approaches to experiencing art. From an examination of claims made across disciplines that advocate discursive practice, including George Hein’s constructivist museum, Helen Illeris’s performative museum and Jacques Lacan’s psychoanalytic conversation, a strategy for the enhancement of the experience of contemporary art for the hesitant or disconnected viewer is proposed that involves reorienting the role of the public art museum from expert speaker to expert listener.

Full text here: Engaging Strangeness in the Art Museum

PhD ResearchExtracting Meaning from Strangeness: strategies to enhance visitor engagement with contemporary art in the public art museum

Abstract: Extracting Meaning from Strangeness analyses the behaviours of experts involved in interpreting meaning as a basis for designing engagement strategies that enhance viewer direct engagement with contemporary art. The analysis includes a case study that test an alternative method for visitor engagement is undertaken in a public art museum setting. The study concludes that the art museum can play a pivotal role in connecting people to contemporary art by inverting the usual focus from expert speaker to expert listener.

Download through UTAS at: http://eprints.utas.edu.au/19876

Masters ResearchHarvesting Bewilderment: Comment to Conversation

Abstract: The analysis of viewer response to an interactive exhibition entitled When is Art?  This was an interactive exhibition of five horrible moments from art history from Malevich, Duchamp, Warhol, Burn and Emin. The interaction involved inviting viewers to engage in a written conversation about the work over the duration of the exhibition. This conversation was displayed in the exhibition space. The analysis of the data revealed a decrease in aggressive responses and an increase in reflective dialogue.