tag:blogger.com,1999:blog-5317052042177627905.post3619957030937245029..comments2023-06-10T10:09:21.134-04:00Comments on ExhibiTricks: A Museum/Exhibit/Design Blog: Rhythm in ExhibitionsPOW! (Paul Orselli Workshop, Inc.)http://www.blogger.com/profile/05111591384018210698noreply@blogger.comBlogger4125tag:blogger.com,1999:blog-5317052042177627905.post-85503633075464328592012-03-02T12:08:38.692-05:002012-03-02T12:08:38.692-05:00Thanks for all the great comments!
@Jason It is i...Thanks for all the great comments!<br /><br />@Jason It is interesting to go back through an installation to try and ferret out those unintended patterns.<br /><br />@Alli and @Betsy I think so many museum experiences and designs are "flat" (in the object display sense) and "boxed in" (what's wrong with windows?!?!) that it's great to point out counter-examples.POW! (Paul Orselli Workshop, Inc.)https://www.blogger.com/profile/05111591384018210698noreply@blogger.comtag:blogger.com,1999:blog-5317052042177627905.post-90228108491272788052012-03-02T11:51:26.412-05:002012-03-02T11:51:26.412-05:00There's also the mood-setting that you can acc...There's also the mood-setting that you can accomplish when you "break the color barrier" on the walls. To me, a lively (though sophisticated) color pallette says "welcome" to our family audience. <br /><br />Definitely check out the new Art of the Americas wing at the Boston MFA. Colored walls! It does not detract from the art for me, at all. Plus the architects and designers paid sharp attention to another rhythym: gallery walls vs. windows. Just when you're hitting gallery fatigue, you move on to an (enclosed) exterior space, a view outside and lots of natural light!Betsy Loringhttp://www.linkedin.com/profile/edit?trk=eml-plat-f-0-yirnoreply@blogger.comtag:blogger.com,1999:blog-5317052042177627905.post-18610629540965723152012-03-02T01:02:30.315-05:002012-03-02T01:02:30.315-05:00Love the 'bunch of old brown things' analo...Love the 'bunch of old brown things' analogy! <br /><br />At the Handwritten exhibition at the National Library of Australia - they displayed old volumes of illuminated manuscripts (so difficult to display dynamically) as if they were golden flying volumes in a dark sky. It really seemed to connect with the romantic way that visitors might connect with these objects. It also brought a new element to the exhibition and to the objects themselves.Alli Burnesshttp://www.archivistscribbles.blogspot.com.au/noreply@blogger.comtag:blogger.com,1999:blog-5317052042177627905.post-7456243180336758962012-03-01T17:47:35.608-05:002012-03-01T17:47:35.608-05:00You've hit upon a great lens through which to ...You've hit upon a great lens through which to evaluate exhibition design. <br /><br />"Rhythm" is certainly a word that has come up in discussions with art curators. Afterall, a good curator makes a point of stepping back from the wall to assess the composition of the hang. But the qualities that need rhythmic organization are multitudinous, size and color being the most obvious. One curator with whom I was working years ago obsessed on the even distribution of female artists. Inclusion was not a problem, but when one room became all male, and another all female--by chance-- we had to reconsider the layout. Otherwise, attention would be drawn to unintended associations.Jasonhttps://www.blogger.com/profile/01019311922346086109noreply@blogger.com