Artists and the Public's Attention Since the 1960s: An Exploration of How Artists Seek to Capture the Audience's Attention

Q3 Arts and Humanities
Patrick van Rossem
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引用次数: 0

Abstract

Art historical research shows that artists, especially since the 1960s rise in museum and art gallery attendance do not always trust the audience’s ability to deal with their art. The choice for a performative aesthetic, for example, has also been a method for reasserting rather than—as is often thought—relinquishing artistic control. The article looks at aesthetic strategies developed by artists who desire(d) a more attentive look from their audiences. It considers works made by artists in the sixties and seventies. It is a fact that the appearance of mass audiences goes hand in hand with the creation of artworks that have “attention” as their subject. Secondly, the article takes a look at more contemporary work. Faced with spectators that spend about 28 seconds looking at artworks and reading the accompanying labels, artists are developing strategies that slow spectators down, thus hoping to channel and hold their attention.
20世纪60年代以来的艺术家与公众关注——艺术家如何吸引观众注意力的探索
艺术史研究表明,艺术家,尤其是自20世纪60年代以来,博物馆和美术馆的观众人数不断增加,并不总是相信观众处理艺术的能力。例如,选择表演美学也是一种重申的方法,而不是像人们常认为的那样,放弃艺术控制。这篇文章着眼于艺术家们所制定的审美策略,他们希望(d)观众有一个更专注的视角。它考虑了六七十年代艺术家的作品。事实上,大众观众的出现与以“注意力”为主题的艺术品的创作密不可分。其次,本文着眼于更现代的作品。面对花大约28秒观看艺术品和阅读相关标签的观众,艺术家们正在制定策略,让观众慢下来,从而希望引导和吸引他们的注意力。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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来源期刊
Nordic Journal of Aesthetics
Nordic Journal of Aesthetics Arts and Humanities-Visual Arts and Performing Arts
CiteScore
0.20
自引率
0.00%
发文量
21
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