MY MUSEOLOGY

Visiting this made this morning utterly worthwhile and immeasurably inspiring.  It's exhausting, unnervingly despondent at points and, for all that, happily provocative.  I was accompanied by my best friend, some of whose commentary I'll include in this entry for its trenchant observations.  Arriving early meant we were among the first crush to enter the galleries, but that was no surprise given the breadth of publicity that has been spinning around The Ladder of Escape .  I took some notes, thought a lot, chattered a little, and lamented at not being able to take photographs or make a video.  This aside, I was there, and here is what I have to say about it; I'll use the three questions I've mentioned in earlier posts to structure the entry. Curation + Implied narrative/s There are over 160 pieces in the 13 galleries making up The Ladder of Escape which include painting, drawing and sculpture; an array of supports across canvas, velours paper, Masonite an...

This blog, ideally, should explore the culture of museology.  That's why I'm focusing on the staging of the Miró exhibition, because it will help me to understand the use of space for the showing of art.  The three questions I've chosen to ask of the exhibition go some way towards starting this in a more structured way.  This is what I suppose I want to get at with the first question What narrative or narratives does the show's curation seem to imply?   Have the curators tried to construct a single exhibition story, or a series of stories?  Whatever answers emerge from this will help to assess the extent to which the exhibition is a learning experience .  That interaction between the art in the space and the story or stories the show organisers intended causes a learning event since it is where spectators develop knowledge.  The final question, How does the staging of Miró here compare with the staging of Cy Twombly: Cycles and Seasons ? encourages f...