Visual artifacts distinguished as uniquely worthy are offered on the spacious walls of the radiant second floor. As a laudable structural object in itself, this gallery space elicits an aesthetic response. Built in 1929, the Fine Arts Building is located in the Sedalia Fairgrounds Historic District.
“Works of art often last forever, or nearly so. But exhibitions themselves, especially gallery exhibitions, are like flowers; they bloom and then they die, then exist only as memories, or pressed in magazines and books.” – Jerry Saltz
Always more perceived
Present as having
Objects of attention stimulation are made available for contemplative observation in the gallery. Not all exhibition participants are particularly interested in the curated art objects presented. Experience of an event is highly psychological, existing in the mind belonging to the thinking subject.
“In perception, knowledge of the object is consequent upon the experience of it, whereas in imagination knowledge is prior to experience.” – Jean-Paul Sartre
Reveal an object
Considering the art gallery as a unified fine art experience, aesthetics can change the dynamics of space. Under these conditions, perception can become more about the creation of possibility than only about immediate actuality.
“It is true that alongside the states of consciousness which live this unshrinkable and inextensible duration, there are material systems which time merely glides over.” – Henri Bergson
The gallery becomes crowded on opening night, making it possible to move about anonymously. Selecting items from among a large number of possibilities, under these conditions the artwork acts as a nice backdrop to consume and enjoy performance interactions.
“If real is what you can feel, smell, taste and see, then ‘real’ is simply electrical signals interpreted by your brain.” – Morpheus
In a particular small town art gallery, the floor design becomes the primary aesthetic object of interest within the field of vision. The usefulness of any such enterprise must depend a great deal upon the value of selection.
“The same factors which have thus coalesced into the exactness and minute precision of the form of life have coalesced into a structure of the highest impersonality; on the other hand, they have promoted a highly personal subjectivity.” – Georg Simmel
Contemporary societies still find time to experience the sanctioned gallery, where art officially is designated and accessible. The aesthetic as an organic apparatus disseminates power in every field of human life, especially at the rarefied leading edge.
“The characteristic distinction of living beings, when compared to physical phenomena devoid of life, is organization, which, in moving creatures, produces a coordination of subjective states.” – Paul Carus
In the middle
Free of objects
Brightly illuminated with natural light, cavernous interiors with hardwood floors appeal without additional ornamentation. Delivering my artwork to a gallery group show, the space is uniquely atmospheric prior to installation, becoming a self-sufficient aesthetic motivator in its own right.
“The unity of a work of art is the counterpart of a unity within the experience of the beholder.” – DeWitt Parker
Vacillate in a split
Forced to admit
Words plastered all over the gallery walls are offered in an analytical frame of reference. Ordinary language, with an emphasis on clarity of meaning dependent on an inherent ambiguity of vocabulary, questions assumptions about communication.
“What you see and what you hear depends a great deal on where you are standing. It also depends on what sort of person you are.” – C.S. Lewis
Objective reality exists outside of our subjectivity. Adding erudition to the mysterious, art decorates the walls on the boundaries of understanding. As with all bodies of knowledge, it is difficult to present a definitive analysis of certainty. In practice, totality error-free cognition is unattainable, while simultaneously a complete lack of doubt is undoubtedly undesirable.
“The game is worthwhile insofar as we don’t know what will be the end. My field is the history of thought. Man is a thinking being.” – Michel Foucault
In the process of analyzing a string of symbols, things are revealed in the gallery that are absent in the less mediated world of experience. Presented for observation, the subject/object divide becomes sharply differentiated, as the role of the spectator is strictly defined and finely parsed. Interpretation cannot function in a void, but a space can be designed for consumption.
“Time has resumed its shape. All is as it was before.” – Guardian of Forever