Glossary

2.4 Paradigm Shifts in Exhibition Making

8 min read•july 29, 2024

Paradigm shifts in exhibition making have transformed how we experience art and culture. From public museums to movements, curators have pushed boundaries and challenged norms, shaping our understanding of art's role in society.

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These shifts reflect broader social, political, and technological changes. As exhibitions become more inclusive, interactive, and globally connected, they continue to evolve, offering new ways to engage with art and explore diverse perspectives.

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Paradigm Shifts in Exhibition Making

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The Rise of the Public Museum

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  • The rise of the public museum in the 18th and 19th centuries marked a significant shift in exhibition making, as collections were made accessible to a wider audience beyond the elite and scholarly circles
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  • This shift democratized access to art and knowledge, encouraging public engagement with cultural heritage (The British Museum, The Louvre)
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  • Public museums became important institutions for education, social reform, and nation-building, reflecting the values and aspirations of their societies
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  • The organization and display of collections in public museums often followed systematic and didactic approaches, aiming to convey a coherent narrative of art history or cultural progress
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Modernism and the Avant-Garde

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  • The advent of in the early 20th century brought about a focus on abstraction, experimentation, and the avant-garde, challenging traditional modes of display and interpretation
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  • Modernist exhibitions emphasized the formal qualities of artworks, often presenting them in isolation or in non-chronological arrangements (MoMA's "Cubism and Abstract Art" exhibition, 1936)
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  • The rise of avant-garde movements (Surrealism, Dada) led to unconventional and provocative exhibition strategies, such as the use of unexpected juxtapositions, immersive environments, and audience participation
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  • Modernist curators played a crucial role in shaping the canon of modern art and promoting the idea of artistic progress and innovation
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Post-War Developments and Institutional Critique

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  • The post-World War II period saw the emergence of new curatorial practices, such as the "" aesthetic, which prioritized a neutral, minimalist exhibition space to highlight the artwork itself
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  • The "white cube" approach aimed to create a contemplative and immersive viewing experience, minimizing distractions and contextual information (MoMA's "16 Americans" exhibition, 1959)
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  • The 1960s and 1970s witnessed a paradigm shift towards , with artists and curators questioning the authority and neutrality of museums and galleries, leading to more experimental and politically engaged exhibitions
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  • often challenged the power structures and ideological biases embedded in museum practices, addressing issues of , exclusion, and the commodification of art (Hans Haacke's "MoMA Poll", 1970)
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Postmodernism and the Expansion of Exhibition Practices

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  • The rise of postmodernism in the 1980s and 1990s emphasized the plurality of perspectives, the deconstruction of grand narratives, and the blurring of boundaries between high art and popular culture in exhibition making
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  • Postmodernist exhibitions often embraced a more eclectic, interdisciplinary, and context-specific approach, incorporating elements of installation, performance, and new media (Centre Pompidou's "Les Immatériaux", 1985)
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  • The late 20th and early 21st centuries have seen a growing emphasis on audience engagement, participatory practices, and the incorporation of new media and in exhibition design
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  • Contemporary exhibitions often prioritize immersive, interactive, and socially engaged experiences, seeking to foster dialogue, collaboration, and community building (Tate Modern's "The Weather Project" by Olafur Eliasson, 2003)
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Drivers of Curatorial Change

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Artistic Movements and New Art Forms

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  • Shifts in artistic movements and the emergence of new art forms, such as , , and new media, have necessitated adaptations in curatorial approaches and exhibition spaces
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  • Installation art has challenged traditional modes of display, requiring curators to create immersive and site-specific environments that integrate the artwork with the exhibition space (Christo and Jeanne-Claude's "The Gates", Central Park, 2005)
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  • Performance art has introduced ephemeral, time-based, and participatory elements into exhibitions, demanding new strategies for documentation, preservation, and audience engagement (Marina Abramović's "The Artist Is Present", MoMA, 2010)
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  • , including video, digital, and internet-based works, has required curators to develop new technical skills, collaborative practices, and display methods to accommodate the unique characteristics of these art forms (Whitney Museum's "Net Art Anthology", ongoing)
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Democratization and Diversity

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  • The democratization of art and the increasing diversity of artists and audiences have challenged traditional hierarchies and canon formation, leading to more inclusive and representative exhibition practices
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  • Curators have sought to address historical imbalances and exclusions by showcasing the work of underrepresented artists, including women, people of color, and LGBTQ+ individuals (Tate Modern's "Soul of a Nation: Art in the Age of Black Power", 2017)
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  • Exhibitions have increasingly focused on exploring diverse cultural perspectives, marginalized histories, and alternative narratives, moving beyond Western-centric approaches (Centre Pompidou's "Magiciens de la Terre", 1989)
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  • Collaborative and community-based curatorial models have emerged, involving artists, activists, and local communities in the development and presentation of exhibitions (Queens Museum's "Corona Plaza: Center of Everywhere", ongoing)
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Globalization and International Exchange

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  • The rise of and the increased mobility of artists, artworks, and ideas have led to a greater emphasis on , cross-cultural dialogue, and the exploration of transnational themes in exhibitions
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  • , , and other large-scale international exhibitions have become important platforms for showcasing global art practices, fostering cultural diplomacy, and addressing shared global challenges (Venice Biennale, documenta, Sharjah Biennial)
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  • Curators have increasingly focused on organizing exhibitions that trace the flows, influences, and connections between different artistic traditions, regions, and diasporas (Hayward Gallery's "The Other Story: Afro-Asian Artists in Post-War Britain", 1989)
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  • The globalization of the art world has also led to the emergence of new cultural hubs and the decentralization of artistic production, challenging the dominance of traditional art centers (Tate Modern's "Century City: Art and Culture in the Modern Metropolis", 2001)
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Technology's Impact on Exhibitions

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Digital Technologies and Immersive Experiences

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  • The introduction of digital technologies, such as video, sound, and interactive installations, has expanded the range of artistic practices and transformed the visitor experience in exhibitions
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  • Video art has become a central medium in contemporary exhibitions, requiring specialized display and sound systems to create immersive and engaging presentations (Bill Viola's "The Passions", Getty Museum, 2003)
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  • Interactive installations and participatory technologies have enabled visitors to actively engage with artworks, creating personalized and dynamic experiences (Random International's "Rain Room", MoMA, 2013)
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  • The development of virtual and augmented reality has enabled the creation of immersive and interactive exhibitions that blur the boundaries between the physical and the digital (Björk's "Björk Digital", traveling exhibition, 2016)
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Online Platforms and Social Media

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  • The widespread use of and has changed the way exhibitions are promoted, documented, and disseminated, allowing for greater audience engagement and global reach
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  • Museums and galleries have increasingly used social media to share behind-the-scenes content, artist interviews, and educational resources, fostering a sense of connection and (MoMA's Instagram account, ongoing)
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  • Online exhibitions and virtual tours have enabled audiences to access and experience art remotely, expanding the reach and impact of exhibitions beyond physical spaces (Google Arts & Culture, ongoing)
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  • Social media has also become a platform for artistic expression, activism, and critique, with artists and curators using these channels to engage with contemporary issues and create new forms of public art (Ai Weiwei's "Remembering", Instagram, 2019)
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Digitization and Data-Driven Approaches

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  • The of collections and the creation of online databases have made artworks and archival materials more accessible to researchers, educators, and the general public, fostering new forms of engagement and scholarship
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  • Digital archives and online catalogues have enabled curators to study, compare, and contextualize artworks in new ways, leading to innovative research and exhibition projects (Tate's "Art & Artists" database, ongoing)
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  • The use of data analytics and visitor tracking technologies has provided insights into audience behavior and preferences, informing curatorial decisions and exhibition design
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  • have enabled museums to personalize visitor experiences, tailor educational content, and optimize exhibition layouts based on visitor feedback and engagement patterns (Cooper Hewitt's "The Pen", ongoing)
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Social and Political Influences on Exhibitions

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Social Justice and Representation

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  • The civil rights movement and the struggle for racial equality have led to a greater emphasis on diversity, representation, and in exhibition programming and curatorial practices
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  • Exhibitions have increasingly focused on showcasing the work of artists from marginalized communities, addressing issues of systemic racism, and challenging Eurocentric narratives (Whitney Museum's "Black Male: Representations of Masculinity in Contemporary American Art", 1994)
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  • The feminist movement has challenged the male-dominated canon of art history and advocated for the and recognition of women artists in exhibitions and collections (Brooklyn Museum's "The Dinner Party" by Judy Chicago, permanent collection)
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  • The LGBTQ+ rights movement has pushed for greater visibility and representation of queer artists and themes in exhibitions, fostering a more inclusive and diverse art world (Tate Britain's "Queer British Art 1861-1967", 2017)
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Decolonization and Postcolonial Perspectives

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  • The rise of decolonial and has led to a critical re-examination of the legacies of colonialism and imperialism in museum collections and exhibition narratives
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  • Curators have sought to deconstruct and challenge the colonial origins and power dynamics embedded in museum practices, addressing issues of cultural appropriation, repatriation, and indigenous rights (Musée du Quai Branly's "The Making of Images", 2010)
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  • Exhibitions have increasingly focused on presenting alternative histories, indigenous knowledge systems, and non-Western artistic traditions, moving beyond colonial frameworks (National Gallery of Canada's "Sakahàn: International Indigenous Art", 2013)
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  • Collaborations with indigenous communities and the inclusion of indigenous curators and artists have become important strategies for decolonizing exhibition practices and fostering cultural self-determination (Art Gallery of Ontario's "Brian Jungen: Friendship Centre", 2019)
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Accessibility and Inclusion

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  • The growing awareness of accessibility and disability rights has encouraged curators to create more inclusive and accessible exhibitions, considering factors such as physical access, sensory experiences, and language barriers
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  • Exhibitions have increasingly incorporated elements such as audio descriptions, tactile models, and sign language interpretation to accommodate visitors with diverse needs and abilities (Victoria and Albert Museum's "Undressed: A Brief History of Underwear", 2016)
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  • Curators have also sought to create exhibitions that address the experiences and perspectives of people with disabilities, challenging stereotypes and promoting empowerment (Smithsonian Institution's "EveryBody: An Artifact History of Disability in America", ongoing)
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  • The principles of universal design have been applied to exhibition spaces and interpretive materials, ensuring that they are usable and engaging for the widest possible audience (Cooper Hewitt's "Access+Ability", 2017)

Key Terms to Review (43)

Accessibility: Accessibility refers to the design of products, devices, services, or environments for people with disabilities. In the context of cultural institutions and exhibitions, it emphasizes creating spaces and materials that everyone can engage with, regardless of their physical or cognitive abilities. This principle fosters inclusivity and ensures that art and cultural experiences are available to all audiences.
Augmented reality in art: Augmented reality in art refers to the integration of digital elements, such as images, sounds, and animations, into the real-world environment through devices like smartphones or AR glasses. This innovative medium enhances the viewer's experience by overlaying digital content onto physical artworks, creating interactive and immersive experiences that challenge traditional perceptions of art. It transforms exhibitions by allowing audiences to engage with artworks in new and meaningful ways.
Avant-garde: Avant-garde refers to innovative and experimental ideas, particularly in the arts, that challenge the established norms and conventions. This term is often associated with movements that seek to push boundaries, provoke thought, and inspire change through unconventional practices and perspectives. It plays a crucial role in transforming the landscape of art and exhibition making by introducing new forms of expression and encouraging dialogue about societal issues.
Biennials: Biennials are large-scale contemporary art exhibitions that typically occur every two years, showcasing a diverse range of artwork and artistic practices from around the world. These events have become significant cultural platforms for artists, curators, and audiences, allowing for exploration of current themes in art and society, and often reflecting the evolving dynamics of exhibition making.
Community engagement: Community engagement refers to the process of involving individuals and groups from a community in decision-making and activities that affect their lives. This involvement is essential for fostering meaningful relationships between institutions and the communities they serve, allowing for shared knowledge, resources, and ultimately creating a more inclusive cultural experience.
Data-driven approaches: Data-driven approaches refer to methodologies that prioritize the use of data and analytics to inform decision-making processes, often leading to more effective outcomes. These approaches utilize empirical evidence and quantitative metrics to shape strategies and practices, enhancing the relevance and impact of exhibitions. By integrating audience insights and behavioral patterns, data-driven approaches create a more engaging experience for visitors while aligning with institutional goals.
Decolonial Curating: Decolonial curating is an approach to exhibition making that seeks to challenge and dismantle colonial narratives and power structures, promoting indigenous perspectives and marginalized voices. This practice emphasizes the need for inclusivity and social justice in the curation process, advocating for a reevaluation of historical and contemporary representations in art and culture.
Decolonization: Decolonization refers to the process by which colonies gain independence from colonial powers, leading to the dismantling of imperial structures and the reassertion of local identities and governance. This transformation affects cultural narratives, representation, and the way institutions are structured, significantly influencing how exhibitions are created and what ethical considerations are taken into account in curatorial practices.
Digital curation: Digital curation is the process of collecting, organizing, and managing digital content in a way that enhances its accessibility and usability for a target audience. It involves selecting and preserving digital assets, such as images, videos, and texts, while also ensuring their proper contextualization and interpretation. This practice is crucial for adapting to new exhibition methods, understanding contemporary trends in art, navigating various cultural contexts, integrating technology into physical displays, and exploring diverse career opportunities in curatorial studies.
Digital technologies: Digital technologies refer to the electronic tools, systems, and resources that generate, store, and process data. These include computers, software applications, and the internet, which have significantly transformed how information is created, shared, and consumed. Their integration into various fields has altered traditional practices, especially in curatorial studies and exhibition making, influencing how art is experienced and interpreted.
Digitization: Digitization is the process of converting analog information into a digital format, allowing for easier access, manipulation, and preservation of data. This transformation plays a crucial role in modern exhibition making by enhancing how audiences engage with collections and artworks through digital platforms and tools.
Diversity in Curation: Diversity in curation refers to the practice of including a wide range of perspectives, voices, and cultural backgrounds in the selection and presentation of artworks or exhibitions. This approach aims to challenge traditional narratives and promote inclusivity, reflecting the rich tapestry of human experience. It plays a vital role in reshaping how exhibitions are conceived, making them more representative of different communities and histories.
Eclectic Approach: The eclectic approach refers to a flexible and diverse method of curation that draws from multiple sources, styles, and philosophies to create a rich and varied exhibition experience. This method allows curators to mix different artistic disciplines, historical contexts, and cultural perspectives, resulting in a more inclusive representation of ideas and themes. By embracing an eclectic approach, exhibitions can challenge conventional narratives and engage audiences in unexpected ways.
Experiential Learning: Experiential learning is a process through which individuals gain knowledge, skills, and competencies by engaging directly in experiences and reflecting on them. This hands-on approach emphasizes active participation, allowing learners to connect theoretical concepts with real-world applications. It enhances understanding by encouraging learners to actively explore and experiment, making it especially relevant in contexts that involve developing programs and creating interactive environments.
Globalization: Globalization refers to the process of increasing interconnectedness and interdependence among countries, economies, cultures, and societies around the world. This phenomenon has significant implications for how art is created, shared, and interpreted, fostering diverse perspectives and enabling cross-cultural exchanges that influence exhibition practices, curatorial approaches, and the representation of social and political issues.
Hans Ulrich Obrist: Hans Ulrich Obrist is a Swiss curator, art critic, and historian known for his innovative approach to contemporary art exhibitions and for his influential role in the art world. His practice emphasizes dialogue, collaboration, and the integration of diverse perspectives, making significant contributions to both curatorial studies and exhibition-making.
Immersive experience: An immersive experience is an interactive and engaging encounter that fully absorbs participants in an environment, narrative, or artistic expression, often blurring the lines between reality and fiction. It involves creating a multi-sensory environment where visitors can actively participate, influencing their emotional connection and understanding of the content presented.
Immersive experiences: Immersive experiences are engaging environments or activities that fully envelop participants, drawing them into a narrative or artistic context. These experiences can be physical, digital, or a combination of both, and they aim to create a sense of presence and interaction, often blurring the lines between art, audience, and space. They play a crucial role in modern exhibition practices, influencing how art is presented and experienced.
Inclusion: Inclusion refers to the practice of ensuring that diverse voices, perspectives, and experiences are represented and valued within a given context. This concept emphasizes the importance of making space for underrepresented groups in decision-making processes, cultural narratives, and creative expressions, fostering a sense of belonging and equity. By integrating inclusion into curatorial practices and exhibition making, the aim is to broaden the scope of what is presented and to challenge dominant narratives that often marginalize certain communities.
Installation art: Installation art is a three-dimensional artistic genre that creates an immersive experience for viewers, often transforming the perception of space and engaging multiple senses. This form of art often incorporates various materials, objects, and media to create an environment that invites interaction and contemplation. Installation art is significant in contemporary practices, particularly as it reflects and challenges traditional exhibition formats and contributes to the dynamics of global art events.
Institutional Critique: Institutional critique refers to an artistic practice that critically examines and challenges the structures, systems, and power dynamics within art institutions, such as museums and galleries. This approach seeks to reveal how these institutions shape artistic value, access, and the narratives around art, often questioning the authority of institutions in defining what art is or should be. Through this lens, artists aim to transform the viewer's understanding of not only the artwork but also the context in which it is displayed.
Institutional Critique Exhibitions: Institutional critique exhibitions are artistic presentations that focus on critiquing and challenging the structures, practices, and ideologies of the art institutions themselves, such as galleries and museums. These exhibitions often reflect on issues like power dynamics, representation, and the commodification of art, encouraging viewers to reconsider the role of institutions in shaping cultural narratives. By exposing the limitations and biases inherent in these systems, these exhibitions aim to foster dialogue about the politics of art and its place in society.
Interactive Display: An interactive display is a digital platform that engages users through touch or motion, allowing them to explore content in a dynamic way. This technology transforms traditional exhibition experiences by encouraging active participation and providing personalized learning opportunities, making exhibits more engaging and memorable for visitors.
International Exchange: International exchange refers to the sharing and trading of cultural, artistic, and scholarly works across national borders. This concept plays a significant role in expanding access to diverse artworks and practices, fostering global collaboration among artists, curators, and institutions. It encourages a dialogue that enriches cultural understanding and promotes innovative exhibition practices through the inclusion of varied perspectives.
Modernism: Modernism is a cultural, artistic, and intellectual movement that emerged in the late 19th and early 20th centuries, characterized by a deliberate break from traditional forms and a quest for new means of expression. This movement sought to redefine the ways in which art, literature, and architecture interacted with society, reflecting the rapidly changing world due to industrialization, urbanization, and technological advancements. Modernism often embraced abstraction, experimentation, and a focus on individual perception, encouraging new approaches to exhibition making that prioritized innovative presentation and viewer engagement.
New media art: New media art refers to artistic works that utilize new technologies and digital media as a primary medium for expression, often involving interactivity, multimedia, and digital platforms. This form of art embraces the potential of technology to create experiences that engage audiences in innovative ways, allowing for a dynamic relationship between the viewer and the artwork. It represents a shift in traditional exhibition practices, as artists explore the integration of digital tools in their creative processes.
New museology: New museology refers to a contemporary approach to museum practices that emphasizes inclusivity, community engagement, and the re-evaluation of traditional roles within museums. It challenges conventional exhibition-making by advocating for the representation of diverse narratives and fostering collaboration with communities, which reshapes the curator's role and the creation of catalog essays and exhibition texts to reflect these values.
Online platforms: Online platforms are digital spaces that facilitate the creation, sharing, and engagement with content and services through the internet. They serve as venues for exhibitions, allowing curators and artists to present their work to a broader audience without the physical constraints of traditional galleries or museums. This shift towards digital environments represents a significant transformation in how exhibitions are conceived, designed, and experienced.
Participatory Exhibition: A participatory exhibition is a type of exhibition that actively involves visitors in the creative process, encouraging them to engage with the artwork, themes, or ideas presented. This approach emphasizes collaboration, interaction, and co-creation, allowing audiences to not just observe but also contribute to the exhibition experience. As exhibitions evolve, participatory elements reflect a paradigm shift in exhibition making towards inclusivity and shared authorship.
Performance art: Performance art is a live artistic practice that combines visual art, theater, and often, elements of dance or music to convey ideas or emotions. It typically emphasizes the artist's body and presence in a specific context, blurring the boundaries between art and life. This form of art has evolved to engage audiences directly, transforming the traditional roles of both artists and viewers in the exhibition space.
Pop-up Exhibition: A pop-up exhibition is a temporary display or event that showcases art, objects, or concepts in a specific location for a limited time. These exhibitions can occur in unconventional spaces, often aiming to engage audiences in new ways and create a sense of urgency and exclusivity around the experience. The rise of pop-up exhibitions reflects broader trends in the art world, where accessibility and innovative presentation are becoming increasingly important.
Post-colonial theory: Post-colonial theory is a framework that examines the cultural, political, and social impacts of colonialism on former colonies and colonizers. It critically analyzes the lingering effects of colonial power dynamics and addresses issues like identity, representation, and resistance in a globalized world. This theory is vital for understanding how exhibition practices can shift to include diverse voices, how academic research can interrogate narratives shaped by colonial histories, and how individuals can present their unique perspectives in portfolios.
Postcolonial perspectives: Postcolonial perspectives refer to a critical approach that analyzes the cultural, political, and social impacts of colonialism and imperialism on formerly colonized societies. This viewpoint emphasizes the importance of understanding history, identity, and representation, particularly in relation to marginalized voices and narratives in the context of global power dynamics.
Relational Aesthetics: Relational aesthetics is an art theory that focuses on the social interactions and relationships that art can create, rather than on the traditional aesthetic experience. This approach emphasizes participatory art practices and the engagement of viewers as active participants, blurring the boundaries between art, artist, and audience.
Representation: Representation refers to the way in which people, ideas, and experiences are depicted or presented in cultural contexts, particularly in art and exhibitions. It is crucial for creating narratives that resonate with diverse audiences, reflecting various perspectives and identities, and influencing how viewers understand and engage with the subject matter.
Site-specific installation: A site-specific installation is an artistic work designed to exist in a particular location, taking into account the environment, architecture, and culture of the space. These installations often challenge traditional exhibition practices and invite viewers to engage with the site in a unique way, emphasizing the relationship between art and its surroundings.
Social justice: Social justice refers to the equitable distribution of resources, opportunities, and privileges within a society, emphasizing fairness, equality, and the protection of human rights. It connects deeply with various aspects of society, including art, culture, and institutional practices, as it pushes for inclusivity and representation for marginalized communities while challenging systemic inequalities.
Social media: Social media refers to online platforms that facilitate the creation and sharing of content, allowing users to connect and communicate with one another. These platforms have transformed how information is disseminated, enabling real-time interactions and fostering a global community of creators and audiences. The rise of social media has played a crucial role in reshaping the ways exhibitions are planned, promoted, and experienced by audiences.
Social Practice Art: Social practice art is a form of art that focuses on engagement and collaboration with communities to address social issues and foster social change. This type of art often emphasizes participation and interaction, blurring the lines between artist and audience while encouraging collective action and dialogue around critical topics.
Theaster Gates: Theaster Gates is a contemporary artist and social practice designer known for his work that combines art, community development, and cultural production. His approach challenges traditional exhibition formats by integrating social engagement and urban revitalization, leading to significant paradigm shifts in how exhibitions are conceived and experienced.
Triennials: Triennials are large-scale art exhibitions that take place every three years, showcasing contemporary artworks from around the world. These events serve as platforms for artists, curators, and institutions to present innovative practices and ideas, often reflecting on societal issues and the evolving nature of art. Triennials have become significant cultural phenomena that not only highlight emerging trends in the art world but also challenge traditional exhibition formats.
Virtual Exhibition: A virtual exhibition is an online platform that allows artists, museums, and curators to showcase artworks and artifacts in a digital format, enabling viewers to experience exhibitions remotely. This format has transformed traditional exhibition-making practices by offering increased accessibility and interactivity, while also accommodating innovative storytelling techniques. Virtual exhibitions leverage digital technologies to reach broader audiences, allowing for creative engagement with art and culture regardless of geographical limitations.
White cube: The white cube is a gallery or exhibition space characterized by its minimalistic, stark white walls and uniform lighting, designed to create an environment that emphasizes the artwork itself rather than the space. This concept serves to strip away distractions, allowing viewers to engage with art on a more focused level. By utilizing this aesthetic, the white cube has influenced how art is displayed and perceived in contemporary contexts, affecting both spatial planning and innovative approaches to exhibition making.
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