The white cube as described by O'Doherty previously is a space that neutralize artworks, removing any cultural or aesthetic context, a classical Baroque painting placed in a white gallery metamorphose into modernistic art and vice versa. He went on to further scrutinize the various manipulation of the white cube, one of which is the social status of the gallery space. As the gallery is seen as a "sacred" space, anything placed in it is naturally considered art.
In the third essay "Context as Content", Brian O'Doherty analyzed his admired mentor, Marcel Duchamp's installations 1,200 Coal Bags ( 1938 ) and Mile of String ( 1942 ), noting that Duchamp was one of the first to utilized the gallery space as the "canvas" for his artworks, thereon studied the distinctive artistic "gestures" that obscure what being an artist really means, while contemplating the essence of art. O'Doherty commented that the white cube is a result of the capitalist consumerist perspective on art, “designed to accommodate the prejudices and enhance the self-image of the upper middle classes", subsequently the gallery space became the target of some of the most profound artistic gestures in the 1970s ( O'Doherty, 1999 ).
1,200 Coals Bags, 1938 Mile of Strings, 1938
Marcel Duchamp Marcel Duchamp
The way artworks are displayed could significantly affect the viewers' perception of it, changing the meaning of it depending on the intention of the artist. The "gesture" of an artist as O'Doherty denoted is a singular artistic action, an individualist, daring act ( UKEssays, 2013 ). He theorized that artistic gestures form narratives, commenting on both the art in the gallery space and in a wider context as the space itself has become content. O'Doherty criticized the lack of communication between artist despite continuing the dialogue for generations, such as Yves Klein's "The Void" and Armand "The Full" as well as many others. Often times these gesture were meant to ridicule the art scene, even challenging the authority of the white cube. The audience challenged by the question of what is art and the means of exhibiting it usually do not acknowledge the gesture, only learning to appreciate the them in retrospect ( UKEssays, 2013 ).
As a response to the capitalist consumerist aspect of the white cube or gallery space, some avant-garde artists started moving away from the gallery walls, creating new forms of art that cannot be acquired. The white walls is also said to give off the impression of dissociation which forbids interactions with audiences, therefore Installations, performance art and conceptual arts such as the Happenings emerged, inviting the participation of the general public, provoking the audience. Nam June Paik, Bruce Nauman, Bill Viola and Christian Marclay are examples of pioneering avant-garde artists who went beyond the boundaries of the white cube, fusing fine art with video, sound and music to create contemporary visual art.
Nam June Paik: Global Visionary - Exhibition Preview
Christian Marclay - Record Without A Cover ( 1985 )
Bruce Nauman - Clown torture (1984)
Today, artworks outside the white cube is definitely not a new concept, beside public areas, art has also shifted to virtual space with contemporary new-media, such as virtual reality. It also reflects the current generation, technology has become an inevitable part of life thus field of new-media is increasingly popular among emerging artists. These new art forms are congenitally time based, interactive and collaborative, new media is dynamic, often responsive to the environment. Galleries are not exempted from the conceptual and technological advancement in relation to art. Reputed and prestigious modern art institution such as Tate recognizes the new ideas of displaying experimental art, allowing the modification of the gallery space for artist to express their artistic intent. However, despite the proliferation of digital technology in art, they are underrepresented in museums and galleries in comparison to visual arts. Museums play an essential role in preserving cultural history, therefore it is important to consider what is chosen to be archived to tell the story of each era.
Reference
AQNB, ( 2017 ) " Art in unusual places: The eye-catching exhibits happening outside the white cube ", February 1. Available at: https://www.aqnb.com/2017/02/01/art-in-unusual-places-the-eye-catching-exhibits-happening-outside-the-white-cube/ ( Accessed: 26th October 2018 )
CREATORS STAFF ( 2017 ) "How to Escape the White Cube and Make Your Dreams Come True", Creators, April 19. Available at: https://www.vice.com/en/article/z4dmy5/how-to-escape-the-white-cube-and-make-your-dreams-come-true ( Accessed 27 October 2018 )
Gere, C. ( 2004 ) "New Media Art and the Gallery in the Digital Age", in Tate Papers, no.2, Available at: https://www.tate.org.uk/research/publications/tate-papers/02/new-media-art-and-the-gallery-in-the-digital-age ( Accessed 27 October 2018 )
JP. ( 2009 ) "Notes on: Brian O’Doherty “Inside the White Cube” Pt 3", CATALOG OF SITUATIONS – A project on Transgressive Art Practice and Aesthetic Experience, October 19. Available at: https://encyclopediaworldart.wordpress.com/2009/10/19/notes-on-brian-o%E2%80%99doherty-%E2%80%9Cinside-the-white-cube%E2%80%9D-pt-3/ ( Accessed 27 October 2018 )
Kachur, L. ( no date ) " RAKE’S PROGRESS ", artnet. Available at: http://www.artnet.com/magazineus/
features/kachur/kachur12-5-06.asp ( Accessed 27 October 2018 )
Maak, N; Klonk, C and Demand, T. ( 2011 ) "The white cube and beyond", Tate Etc. issue 21: Spring 2011, January 1. Available at: https://www.tate.org.uk/tate-etc/issue-21-spring-2011/white-cube-and-beyond ( Accessed: 26th October 2018 )
UKEssays. November 2013. The White Cube Is Designed To Neutralize Philosophy Essay. [online]. Available from: https://www.ukessays.com/essays/philosophy/the-white-cube-is-designed-to-neutralize-philosophy-essay.php?vref=1 ( Accessed 27 October 2018 )
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