Reception of Video Art in Galleries

Reception of Video Art in Galleries Critically examine the notion that the reception of video art is strongly affected by being seen in an art gallery situation Introduction Video art began as an avant-garde movement that challenged the very nature of art in the 1960’s and 1970’s with the likes of Nam June Paik, Bruce Nauman and Stuart Marshall. These artists created powerful pieces in response to the mainstream explosion of cinema and television, and as a challenge to the traditional artistic forms of painting and sculpture. The artists helped to bring art closer to the general public and relieved artists of the need to create specific objects. However, as technology has grown and video art has become more popular, it has moved from the fringes of art to the mainstream setting of the art gallery.[1] Before this the art gallery was a place for traditional forms of art such as painting and sculpture. One of the most interesting topics of discussion regarding video art is how this move into art galleries has changed the reception to video art. It is argued that the reception of video art is strongly affected by being seen in an art gallery si tuation. The aim of this essay is to critically examine this claim, and see how the setting of video art affects the perception of such art. This will be done by look at how setting influences artistic reception, looking at the reception of video art in gallery settings and other settings, and also how the medium of video art itself can influence the gallery experience. Influence of setting on art There are a number of studies and theories regarding the influence of setting on art and artistic reception in various mediums. It is clear that within video art the addition of a gallery setting would change the nature of the art itself. The earliest forms of video art were all on single screens outside of the art gallery setting, and the works were very much of a particular moment in time and had a fairly short lifespan as artistic pieces.[2] However, as video art moved into a gallery setting it merged with other forms of art to create the video installation. This meant the video art was now based in an environment – embedded in a particular time and space. This gave a physical aspect to vide art that had not previously been seen, and has had a major influence on the genre. Installation art is now one of the most common forms of video art, particularly in a gallery setting as it allows video artists to experiment in more ways than ever before. [3] This has meant that video art has merged into other genres, and become part of a larger multi-media, multi-form type of art rather than being a type of visual art on its own. The nature of galleries means that purely video art is being replaced with installation art as it has a more physical presence than traditional video art that was the antithesis of traditional physical art. [4]Another factor worth considering is the psychological aspect of reception towards art in a certain setting. Art that is viewed within a gallery setting may well be seen as more ‘respectable’ and ‘valuable’ than art seen in other settings, but it may also be seen as more ‘traditional’ and constrained than art outside of a gallery setting. There seems to be little research on this particular point, but the researcher supposes that this sort of difference in reception could be possible. Another factor with video art is that the setting of the art might determine how the art is created in itself. Video artists see their projects almost as their children, and therefore want it shown in a particular way as it was intended. If a video art piece was intended to be spontaneous and viewed in a casual setting, then a gallery viewing of such a piece may limit its effectiveness, or even possibly change its meaning altogether.[5] The reception of video art in a gallery setting Video art in a gallery setting is often received differently to how it might be received in a non-gallery setting. Video art in a gallery and video art in another setting may be the separation between what is known as ‘art’ and what is simply known as ‘media’ or ‘television’. The move of video art into the gallery setting has supported its claim to be a mainstream art form. This validation of video art, merely by being seen in an art gallery setting has moved it away from the medium of television and towards the concept of philosophical aesthetics. This is a major shift in the reception of video art from simply a popular culture medium to a valid and critical artistic medium.[6] Another way to look at it is that perhaps the reception of video art is not changed within a gallery setting, but that the actual form of the video art is in fact changed within the gallery setting. Rather than being video art in the form of tape, video art in a gallery setting is either in the form of a live video performance or as an art installation combined with other physical forms of art such as architecture, sculpture, or other interactive multi-media forms. The only way to really determine this is by viewing art exhibitions in both a gallery and non-gallery setting to see if the reception has indeed changed. However, at this point there is very little research on this area as most art pieces are created for one specific setting rather than multiple settings. Therefore, it seems more likely that in many cases the reception of the art is not influenced by setting, but the creation of the art itself is influenced by the setting it is to be placed in.[7] The biggest change perhaps is that video art has moved from the single-screen, non site-specific form to the site-specific installation form. In the original single screen form, which is close to the medium of television, then the gallery setting is unlikely to alter the reception of the art piece. This is because the piece is setting-neutral and will be interpreted individually by each person regardless of setting. However, the form of video art in galleries today is generally installation art, which is site-specific. The art has been created with a specific setting in mind, surrounded by other art forms. In this case the reception of the art would be changed in different settings, but it is unlikely that a site-specific piece would be viewed outside of a gallery or its specific setting.[8] Influence of video art on the gallery experience Video art has been influenced by the gallery setting in its creation more than its specific reception, but video art and other multi-media art has also influenced the gallery experience and changed the way in which art can be perceived. The placement of video art and other multi-media art forms within galleries has challenged the nature of what ‘art’ is and has changed the nature of a gallery. Before this, art in galleries was limited to paintings and sculptures, and therefore the definition of ‘art’ was concerned with things that hung on walls or sat on pedestals. Video art added a completely new element to the gallery space and changed the gallery experience itself. The previous ‘empty space’ in the gallery was now utilized as a part of the artistic framework rather than merely somewhere to display objects. The empty gallery becomes a place for performance and ideas in itself, and space became just as important as the objects within the galler y.[9] Art shifted from the premise of ‘art as object’ to one of ‘art as idea and action’. This not only changed the way in which galleries were seen, but also changed the nature of video art by putting it firmly in the realm of ‘acceptable’ art rather than merely a part of popular culture. It helped to separate video art from the medium of television, drawing a distinct line between the two. It also helped video art to merge into other art forms, and for other forms of art to embrace the influence of video.[10] Furthermore, the acceptance of video art influence the gallery experience by letting other newer formats over the last few years to infiltrate the once sacred gallery space. Computer visuals, Internet exhibits and even live musical and dramatic performance are now part of the gallery experience in many places – something that would have been almost unheard of 30 or 40 years ago.[11] Finally, the acceptance of video art in a gallery setting has influenced the way in which new galleries are designed and laid out. Rather than simply having traditional spaces for paintings and sculptures, new gallery designs incorporate larger areas for performance, installation art and other multi-media art forms. The influence of video art on the gallery experience is perhaps just as strong as the influence of the gallery setting on video art.[12] Conclusion The notion that the reception of video art is strongly influenced by the gallery setting is somewhat misleading. Whilst there is clear evidence that the genre of video art has been massively influenced by the gallery reception, this is more to do with the creation of art rather than its reception. Of course, its reception in terms of its acceptance and standing within the artistic community and amongst the general public has been heightened by its introduction into the gallery setting. However, the major change has been in the move from site-neutral, single screen video art to larger, multi-media installations that incorporate video art and are often site-specific within the gallery setting. Conversely, video art has a significant effect on the gallery experience. It has changed the nature of what constitutes art and what a gallery should look like, as well as pave the way for other newer forms of art to be accepted within the gallery setting. Over the last thirty or forty years, the acceptance of video art into the gallery setting has changed both the way in which video art is commonly created, as well as change the way the gallery setting as a whole is viewed and used. Bibliography Balagopal, R., 2005. Installation Art. (Online). Available at: http://infopedia.nlb.gov.sg/Research/articles/PFInstallationArt.pdf (Accessed 11th August 2008). Bruce, B.C., 2000. The Work of Art in the Age of Digital Reproduction. Journal of Adolescent Adult Literacy, 44(1), p. 66. Carter, C.L., 1979. Aesthetics, Video Art and Television. Leonardo, 12(4), pp. 289-293. Elwes, C., Neshat, S., and University of the Arts London., 2005. Video Art : A Guided Tour. London: I.B. Tauris. Hanhardt, J.G., Villasenor, M.C., 1995. Video/Media Culture of the Late Twentieth Century. Art Journal, 54(4), pp. 20-25. Lisus, N.A., and Ericson, R.V., 1999. Authorizing Art: The Effect of Multimedia Formats on the Museum Experience. The Canadian Review of Sociology and Anthropology, 36(2), p. 199+. London, B., 1996. Video Spaces. Performing Arts Journal, 18(3), pp. 14-19. Lovejoy, M., 2004. Digital Currents: Art in the Electronic Age. New York: Routledge. McCarthy, K.F., and Ondaatje, E.H., 2002. From Celluloid to Cyberspace: The Media Arts and the Changing Arts World. Santa Monica, CA: Rand. Millard, R., 2005. Notebook: Buying Video Art Is Not at All Simple. Artists Sell to Who They like, and Dictate How the Work Is Shown. New Statesman, 134(4730), p. 41. Phelan, A., 1984. The Impact of Technology and Post Modern Art on Studio Art Education. Art Education, 37(2), pp. 30-36. Suderburg, E., 2000. Space, Site, Intervention: Situating Installation Art. Minneapolis: University of Minnesota Press. Footnotes [1] Elwes, C., Neshat, S., and University of the Arts London., 2005, pp. ix-x [2] London, B., 1996, p. 14. [3] Hanhardt, J.G., Villasenor, M.C., 1995, pp. 20-21 [4] Balagopal, R., 2005. [5] Millard, R., 2005. [6] Carter, C.L., 1979, p 289. [7] Carter, C.L., 1979, p. 290 [8] Suderburg, E., 2000, pp. 2-14 [9] Phelan, A., 1984, pp. 30-33 [10] Lovejoy, M., 2004, pp. 101-103 [11] McCarthy, K.F., and Ondaatje, E.H., 2002, pp. 53-54 [12] Lisus, N.A., and Ericson, R.V., 1999, pp. 199-201

The Legacy of Queen of Elizabeth II Essay -- Biography of Her Majesty

In every country, there are individuals who have had an importance to their time period. This importance is highlighted by the individual’s background, roles, and actions. â€Å"â€Å"The things which I have here before promised, I will perform and keep. So help me God.† The words the Queen said on her Coronation Day as she laid her hand on the bible† (Bradford 4). At the young age of twenty five, Princess Elizabeth Alexandra Mary became Queen. The Queen is now the second-longest reigning Monarch in England, reigning for fifty nine years thus far. From the day of her coronation until present time, her daily actions have reflected on the entire country and Commonwealth. Her impact is very significant; she holds real and reserved powers for the entire Commonwealth. Queen Elizabeth was born on April 21, 1926 in London. Queen Elizabeth’s father was the second son to King George V, so he was not expected to become King. Her uncle, King Edward VIII, did not necessarily care for the royal duties. He opted to announce his abdication and marry Wallis Simpson; the two lived their life in exile as the Duke and Duchess of Windsor (Green 11). By doing this, his younger brother, King George VI, took over the thrown. Growing up, Elizabeth enjoyed being outdoors and riding horses. Her parents were not overly pushy with her education; this gave her the time to enjoy these outdoor activities. Her parents did hire a governess named Marion Crawford to overlook her and her sister’s education. She was tutored in history and the unwritten constitution of Great Britain, languages, and music. She was also taught about the Royal Collection of Art. Elizabeth’s mother â€Å"thought one could take formal education too seriously† (Green 12-13) . When World W... ...ends meetings and ceremonies. The evenings are usually reserved for meetings with prime ministers, receptions, charity events, or film premiers. Queen Elizabeth continuously fulfills royal duties, visits the Commonwealth, and attends public engagements and ceremonies. â€Å"All over the country every year, the police, civil servants, politicians, court officials, bishops, vicars and congregants swear the Oath of Allegiance to the Queen† (Shawcross 91). Because the British monarchy is the oldest in Europe, Queen Elizabeth II is an importance and her legacy will forever live on. Works Cited Bradford, Sarah. Elizabeth: A Biography of Her Majesty the Queen. London: Penguin, 2002. Print. Green, Robert. Queen Elizabeth II. New York: F. Watts, 1997. Print. Shawcross, William. Queen Elizabeth: The Queen Mother : The Official Biography. London: Pan, 2010. Print.

Starbucks Summary

This is to recommend that Struck to increasing the power of expand the international markets especially the countries that Struck has not been launched yet in order to gain more global market share thus generate more sales. Struck also need to reduce the power of expand domestic markets since the market in the US is approaching saturation and the marketing- warming expansion techniques has caused cannibalize existing store sales.Based on my analyzes on the case Planet Struck (A), Struck Coffee remains a leader in the coffee business in the world for a long time because the perceived premium product's cachet that they are offering customer something so far superior than customers' expectations and their ubiquitous positioning strategy that providing ready access to customer foot traffic. These are the biggest strengths of Struck. Based on its existing successful del, Struck has indicated continuing increased gross operating income and operating income. See Appendix#l ) This huge succe ss offers Struck more resources to expand its international market such as capital, existing business model, successful previous experiences and expert management team. At present, it is the great time for Struck to expand its international market, since the domestic market is approaching saturation. Even the marketing-swarming expansion techniques prevented competitor entry to the rake and helped Struck built strong brand awareness and recognition, it leads to downward trend in sales per store.As an illustration, between 1 995 and 1 998, Struck had averaged $0. 69 million sales per store per year but until 2002, the sales has been decreased to $0. 559 million per store. This data reflected the domestic market has approached the saturation. However there is still an opportunity to increasing the globally market share, since in year 2002, there are total of 4574 domestic stores but the total number of international stores are only 131 2, which is only quarter of the number of domesti c stores. See Appendix #4) Therefore, expanding international markets would lead to increasing the globally market share thus generate more sales and also will help the company to achieving its objective which is establish Struck as the most recognized and respected brand in the world. Struck has a pretty strong brand image to many of its customers as a â€Å"third place† where is a place between work and home that people can escape, reflect, read, chat and listen.This niche positioning strategy has differentiated Struck from its competitors and this strategy has also become to Struck strongest competitive advantage that provided customers an atmosphere of both warmth and comfort. In conclusion, the main plan of action right now should be to focus on expanding international market instead of domestic markets. Thus the global market share will be increased if the marketing strategy is executed correctly and cooperated with right partner.

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Roman Wars Pre-Empire

Is Conceptual Critiques Relevant for Psychology - 1472 Words

We shall consider Skinner’s Operant Conditioning theory as another type of example on Conceptual Critiques (Skinner, 1963). His theory states that the best way to understand a behavior is to look at the association made between the behavior and the consequence of that behavior. Although Skinner’s primary interest was in human behavior, most of his research was done on animals using laboratory apparatus well known as the Skinner box. Hence, in his experiment, Skinner placed rats in the Skinner box and observed its’ behaviors. Initially, these rats would be randomly moving around exploring, and would usually press the bar accidently. At this point, a food pellet would drop into the tray. He observed that if a hungry rat receives a pellet of†¦show more content†¦Moreover, these authors had also purposely ignored asking the child’s justifications, repetitive questioning and did not offer counter suggestions (Siegel, 1982). Although, now it widely accepted that young children that have been qualified to have operational competencies, on further analysis there were only preoperational competencies (Lourenà §o Machado, 1996). In this example, Conceptual Critiques were a defense for Piaget’s theory. In science, experimentation and statistical analysis of data are important practices. However, they are taken as ends rather than means. Besides, when questions that are only answerable by experiments are deemed to be worth asking; when experiments are published because they use sophisticated techniques; and when numbers are advantaged regardless of whether true measurement has been achieved then, science would be regarded as bias towards factual inquiries. Piaget’s theory would an example of how Conceptual Critiques could be a defensive mechanism to uphold the integrity of a theory. Since he stated his concepts, inferences and hypothesis clearly, it is now an advantage for him to prevent future condemnations of his work. In other words, when taken Conceptual Critiques into consideration it could be used to increase theoretical accuracy. Thus, I would like to stress that Psychologist should take C onceptual Critiques into consideration in theirShow MoreRelated A Perception and Motivation Study Among Married Adults Essay1629 Words   |  7 PagesResearch Article Critique: Forgiveness: A perception and motivation study among married adults Abstract The article is endeavors to observe the possible correlation between general forgiveness (actually forgiving) and perceptions of forgiveness (a belief in the concept). This is a summary analyzing the credibility of the article. 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Applied Counseling Psychology of Addictive Behaviors

Question: Discuss about theApplied Counselingfor Psychology of Addictive Behaviors. Answer: Introduction People encounter problems or obstacles in their lives and that affect them emotionally. These problems have serious repercussions and find it difficult to cope with it on their own. They find it difficult to convey their personal crisis and vulnerabilities to their families and friends. An effective counseling course provides the person an opportunity to express their personal matters safely and find resolutions or provide acceptance to them in coping with the encountered problems (Corey 2015). The effective counseling has a dual relationship. It is an empathetic effort between the receiving person and the counselor. It is a commitment made to the counseling person to change their behavior and thinking patterns. There are many phases in an effective counseling session. The acts of relationship building, assessment of the crisis or problem, the goal setting for an effective counseling session, the alteration in the behavior of the receiving counseling patient and the termination of th e session evaluating the sensitivity and referral from the client (Okun and Kantrowitz 2014). The heart of the counseling is the development of empathic attending skill in the session (Linehan 2014). I believe that the counseling person should be heartily in my company and provide full attention to the session. The counselor should provide its full attention to the client empathically by attending behavior. As a counselor, I believe the role of attending a session, the act of effective listening to the skills and asking questions are the key aspects in an effective counseling session. The active and the passive engagement helps the client to tell about their issues, building a rapport and encourages interpersonal communication. On the other hand, a counselor should also welcome the client warmly. While attending a session, a counselor should also make a client feel comfortable in disclosing their thoughts and emotions (Fatter and Hayes 2013). Being a counselor, for developing the attending skills, I focus on every clue, pause and piece of information provided by the client. The attention should be directed only to the client and going with the flow of the client. This is sometimes difficult for the counselor to be focused on the client but physical and mental attention is required directed to the receiving person. I act patiently and try to make the client free from constraints and psychological blockage. In the process of developing attending skill, there should be a gradual building of relationship between the client and the counselor. It begins with the introduction of the client along with other necessary background information required for the counseling session to begin. There should a comfortable interaction between them and that helps to gain knowledge about the client on a personal level. The client should feel valued, accepted and is willing to share their personal information to the counselor (Ivey, Ivey and Zalaquett 2013). The attending of empathic behavior is also associated with active listening skills of the counselor and the client. It is a fundamental tool in the counseling process. It is not only the process of listening to the client but also showing the client that you are involved in listening and understanding the clients problem. The communication via listening is the main requirement in an effective counseling session (Barnett et al. 2014). Being a counselor, I believe in listening and communicating with the client is the most valuable asset and key to a counseling work. The active listening gives the client encouragement to talk without hesitation, ensuring a positive and open environment for the client. It is the act of taking interest in the client and making them feel understood in conveying their feeling and personal information (Fawcett and Borck-Jameson 2014). In an active listening session, I take a note of the exact words, body language and pitch of the client. There is a phase of reflective listening that is equally important. In this process, a counselor restates whatever said by the client as to convey to them that they have been heard clearly. It is a process of acknowledging the client and validating them so that they can talk further. I believe, while listening, a counselor should avoid any kind of distractions and by not being judgmental, support the client in the best possible way. The speaker should feel positive and could interact on a deeper level in conveying the personal information (Nelson-Jones 2015). The reflective listening consists of paraphrasing, as it is a reflection of the content. It does not necessarily mean that the counselor have to keep an account of every word, rather have to give emphasis on important facts that client convey. It is the understanding of the client that they are accurately heard and not feel ignored (Miller and Rollnick 2012). The reflection of feeling comprises of the awareness that the counselor is competent about the feelings and the emotions and is willing to hear. It is effective in a counseling session because the client would be prompt to speak without any hesitation or interruption. I also prefer selective listening in a counseling session. I give attention to selective facts that are important conveyed by the client and overlook the other information. For example, if a client is depressed in the first meet, but with continuous session, they start to feel positive in their thoughts and behavior, the counselor only pay attention to the facts that relay the initial state of the depression. During the question session, I ask the client to keep take away notes or recording of the session and have them on their desk to be used during the next session. After the listening session, there is an active session for questioning. The art of asking questions to the clients is the most difficult job of a counselor in a psychotherapy process. After the clients conveys the problems or tell their story, the counselor asks questions to clarify each piece of information provided by the client. It provides a platform for new questions and provides new areas for discussion. It helps to point out the issue and clarify the doubts regarding the information perceived. It is a medium for self-exploration as it helps the client to recall the information related to the clients journey (Dryden 2013). Asking questions to the client will convey the client that the counselor is informed about all the answers. For questioning, the counselors have to be knowledgeable in asking the appropriate and direct questions to the client (Evans et al. 2015). The questions asked in a counseling session are very specific and accurate in perceiving the right information from the client. For example, the questions like have you been to a counseling session before? From your viewpoint, what is the problem that you are suffering? How do you feel about your problem and what makes you feel better? and most importantly the questions What do you expect from the counseling session that you are here? and why are you taking up this counseling session?. The questioning is very crucial to get the honest answers and to build an emotional relationship between the receiving counseling and the counselor. There are two kinds of questioning done in a counseling session: the open and closed type of questions. The open kind of questions is asked that are answered in a detailed way. They are the best kind of questions asked as it builds a trusting relationship between the client and the counselor. It makes the client goes into a deeper thought and exploration of their story. In the process of asking questions, the counselor should be very careful, as the questions should not provoke any kind of offensive feeling in the client leading to negativity (Rogers 2012). The closed questions are answered in short forms with responses like yes or no. These kind of closed questions calls off any discussion, obtain pertinent information and not exploring the crisis. The client feels considerate that their problems are heard and they can feel empathized. From my perspective, I think the questions asked could also help the client to feel motivated to be on the track and not deviated in any form. After the questioning session, the counselor takes into account the clients view about the session and evaluates it. After the evaluation, the session is terminated with the referral from the client. The job of being a counselor is not easy. They have the responsibility to change a persons way of thinking and behavior encountered with a problem or suffering. People and their story are different, so the counselor has to behave differently in dealing them. They have to be patient in dealing a person seeking counseling as it could provoke negative thoughts or offensiveness in the client. The real sense of concern for the client condition is required in a counselor for the effective counseling session to occur. The counseling is a way of building trust between two people to understand the problem and find ways to minimize or solve to make them live life in a better way. Therefore, by continuous practice and commitment in this arena, a counselor could help people live life from a new and better perspective. References: Barnett, E., Spruijt-Metz, D., Moyers, T.B., Smith, C., Rohrbach, L.A., Sun, P. and Sussman, S., 2014. Bidirectional relationships between client and counselor speech: The importance of reframing.Psychology of addictive behaviors,28(4), p.1212. Corey, G., 2015.Theory and practice of counseling and psychotherapy. Nelson Education. Dryden, W., 2013. Rational-Emotive Therapy.Self-Disclosure in the Therapeutic Relationship, p.61. Evans, D.R., Hearn, M.T., Uhlemann, M.R. and Ivey, A.E., 2015.Essential interviewing: A programmed approach to effective communication. Nelson Education. Fatter, D.M. and Hayes, J.A., 2013. What facilitates countertransference management? The roles of therapist meditation, mindfulness, and self-differentiation.Psychotherapy Research,23(5), pp.502-513. Fawcett, S.B. and Borck-Jameson, L., 2014.Learning counseling and problem-solving skills. Routledge. Ivey, A.E., Ivey, M. and Zalaquett, C.P., 2013.Intentional interviewing and counseling: Facilitating client development in a multicultural society. Nelson Education. Linehan, M.M., 2014.DBT skills training manual. Guilford Publications. Miller, W.R. and Rollnick, S., 2012.Motivational interviewing: Helping people change. Guilford press. Nelson-Jones, R., 2015.Basic counselling skills: a helper's manual. Sage. Okun, B.F. and Kantrowitz, R.E., 2014.Effective helping: Interviewing and counseling techniques. Nelson Education. Rogers, C., 2012.Client Centred Therapy (New Ed). Hachette UK.