click here to read it

While you’re at it, don’t miss the latest from IMA Director Maxwell Anderson on environmental control in art museums:

click here to read it

]]> http://www.imamuseum.org/blog/2010/04/08/links-we-liketara-donovan-interview-and-climate-control/feed/ 0 tdscreen maxarticle http://www.imamuseum.org/blog/2010/03/16/vinyl-lotuses-and-masked-horses-a-three-minute-tour-of-south-korean-museums/ http://www.imamuseum.org/blog/2010/03/16/vinyl-lotuses-and-masked-horses-a-three-minute-tour-of-south-korean-museums/#comments Tue, 16 Mar 2010 14:07:31 +0000 Anne Laker http://www.imamuseum.org/blog/?p=11491 With only 48 hours in the South Korean capital of Seoul, and 15 major museums to choose from, I gambled on the National Museum of Contemporary Art Korea, with no regrets. Before you enter the building, you’re greeted by an installation that re-interprets a quintessential lotus flower in mod, weatherproof vinyl. This work by Choi Jeong Hwa opens and closes every two minutes.

Inside, we spied a familiar feast: a circular tower of TVs spewing the pop-optical jam of Nam June Paik (an artist also represented in the IMA’s collection).

The two special exhibitions on view included Peppermint Candy, Korean art from the last 20 years, and Megacity Network: Contemporary Korean Architecture, Seoul. Both shows nailed South Korea’s speed-of-light cultural production, considering that the country was ravished by civil war 60 years ago.

Peppermint Candy featured op-art laser-like paintings blending propaganda and pop stars; a room full of actual incense burning words into a rug; eerie large format photos of elder Korean nudes; and a sculpture of 60 stiff, empty military uniforms sewed shoulder to shoulder by Do-Ho Suh (another artist in the IMA collection). Overall, the work accented the diversity, materialism, urbanism of South Korean society. Farewell, Confuscianism; hello, drag queens.

My time was limited in the Megacity exhibition, but suffice it to say, Korean architects are hot, hot, hot. The showcased examples had a boxy, glassy, grey chic.

More observations from museums in other Korean cities and towns:

A memorial to the Korean War experience featured old-timey dioramas, like this one depicting a POW camp:

More modern displays use 3D technology, like this ship steering simulation activity at the Samsung Heavy Industries corporate headquarters in Geoje, where they build massive ships used for oil drilling:

A dinosaur museum on Goseong featured an evolutionary timeline that I could have looked at all day. (We’re all descended from this critter, folks):

The dino museum also included a 4-D film.

What’s 4-D, you ask? Try puffs of air that shoot out of the seat in front of you, simulating the breath of a cranky T-Rex.

Interactivity is always a good bet, shown here at the Jinju National Museum:

It comes down to our relationship to objects. Imagine the Korean war horse outfitted with this noble faceplate, centuries ago.

Working at the IMA for the past few weeks has only seemed to heighten this nagging observation I noticed years ago. There are two types of people when it comes to any, but especially, an art museum visit: those willing visitors and those who would simply rather not. Each side is a simple preference, like cats over dogs, or vanilla over chocolate, Cubs or Cardinals. The preference exists in our families and friends, each side representing itself at one time or another. But this ‘preference’ to go or not go visit an art museum, seems to be a bit of an annoying, elusive thing to solve or make sense of. I have rarely heard of a middle ground on the subject, nor experienced it, and it always seems to be people either do or do not want to go to an art museum. In a recent 4th of July adventure to St. Louis I experienced the two-sided argument once again.

As it was in Indianapolis, St. Louis’s July 4th was plagued with rain. I was visiting a close friend. As a good hostess, and to silence my references to the fact neither of us had been to the Saint Louis Art Museum, my friend allowed me to drag her to the museum to enjoy the soggy morning indoors. Needless to say my friend, a nursing major, is one person that definitely falls into the category of individuals who simply tolerates a trip to the art museum. But I wouldn’t classify a high risk cardio floor as my cup of tea either.

Anyway, as my friend zipped through the Impressionist galleries, I couldn’t help but notice a little girl, maybe five or six, whining about being wet and bored. (I can’t blame her; it was, after all, the 4th of July.) In her damp pink sweatshirt she miserably meandered around, until she spotted the three foot Degas bronze sculpture of a ballerina. She was instantly dragging her mother to the piece and slowly circling it, completely blank faced with awe and deeply fascinated with the work. At the back of the statue, she grinned and as she played with her own curls, quietly pointed out that the ballerina had a satin bow in her ponytail. After that she was nothing but cooperative smiles and continued her admiration of the works in the area. I expect she now will likely fall into the category of ‘willing visitor’ to art museums.

Edgar Degas, French, 1834–1917; Little Dancer of Fourteen Years, c.1880, cast c.1920; bronze, gauze, and satin; 38 1/2 x 16 1/4 x 13 3/4 in. (97.8 x 41.3 x 34.9 cm); Saint Louis Art Museum, Funds given by Mrs. Mark C. Steinberg 135:1956

So, what is it that makes people love or dislike the art museum experience? It’s a difficult question, seeing that everyone has their own preferences, and most are probably informed ones. For the little girl in St. Louis and me, it was a single piece of art that kept us coming back. Perhaps it is an engaging docent who can personalize the experience, making it a true learning and discussion process, or the use of something familiar during the experience, say technology for the younger generations.

The issue of engagement with these two types of preferences has made my internship so interesting. With the IMA’s vast offerings that combine history, design, art and nature, how can the experience on our campus continue to be defined as something beyond that of the average art museum? The idea of participation makes the art museum much more exciting, and one the IMA has, in the past, been challenged on. Art itself can speak, but how many people can hear it, understand it, or even find the right path to relate to it? The options to engage and encourage participation are going to distinguish the boring museum of the ‘I’d simply rather nots’ with the art museum of our contemporary society. People want things tailored to them, whether that means they’re spoilt and lazy, or simply need to be taught how to understand. The IMA should continue to develop our options and teach how to employ them, in order to achieve this understanding and connection to the preferences on each side. The many things available should ensure a participatory, enlightening experience on our campus, ones that are to focus on the viewer’s eye and the teaching moment of the 500 year old painting. To connect with art and the IMA there are many available options, but the new challenge is going to be developing these as preferences.

The campaign includes Russian Communist inspired artwork on limited-edition bags, window displays, catalogs and an in-store presentation, all hitting stores on March 12.

Saks' Spring campaign

The campaign is inspired by the bold graphic designs and propaganda tone of Constructivist art. Though a controversial move, Saks sure could use the attention. The luxury retailer has felt the recession’s sting, recently announcing a $98.8 million loss.

Smart move, Saks. After all, Fairey has developed into one of the most influential street artists of our time. Despite the cloud of controversy surrounding him, his work can now be seen in museums and galleries, graphic design, signature apparel, and now: your favorite upscale department store.

Shepard Fairey

Terron E. Schaefer, the senior vice president of marketing at Saks recently said, “What we do every day, really, is propaganda.” Read the whole article at NYTimes.com. Pretty fierce stuff, but this could definitely be seen by Fairey’s fans as a major sell-out move. What do you think?

Obsessed with well-designed packaging and everyday objects? Check out some related links I found:

• The Dieline is chock full of fresh ideas in package design. From the latest soda bottle concept, to clever music packaging- critique a design or suggest your own.
  

  Wine bottles by Let it Grow

• Looking for a chic fly swatter or watering can with as much form as it has function? Check out the new Design Center online or here at the IMA.

Dr. Skud Flyswatter- $20

• On May 14^th, you can meet film director Gary Hustwit (Helvetica) and see his latest documentary, Objectified,  about the creative process of product design. The film features designers who shape our manufactured environment and our interfaces with mass-produced objects including the people behind IKEA furniture and the iPod.

Objectified movie poster