{"title":"The Gallery Visitor: Initiating Participation through Play","authors":"Sarah Ward","doi":"10.1111/jade.12422","DOIUrl":null,"url":null,"abstract":"<p>Upon entering the gallery, we are met with directives, narratives, and impositions set forth by an authoritative presence. Please remove your backpack. Do not run. Do not speak too loudly. Do not touch. Do not stand too close to the artworks. The presence of security guards or invigilators enforce these instructions on how it is assumed we are to behave in such a space. But do these instructions restrict participation for the visitor? Or do they enable another type of engagement; play? Once perplexed by the visitor behaviour associated with the “museum selfie” culture, this paper will suggest the value of play in the gallery, as an initiative of the visitor to curate their own participation and engagement. In order to demonstrate these ideas of the gallery and their visitors, I will exemplify the participatory practices of Erwin Wurm's One Minute Sculptures (2017), Eva Rothschild's Boys and Sculpture (2012) and Yayoi Kusama's Infinity Rooms, to illustrate the inherent connection between play, learning and embodiment and the gallery visitor.</p>","PeriodicalId":45973,"journal":{"name":"International Journal of Art & Design Education","volume":"41 3","pages":"360-375"},"PeriodicalIF":1.1000,"publicationDate":"2022-07-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"1","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"International Journal of Art & Design Education","FirstCategoryId":"95","ListUrlMain":"https://onlinelibrary.wiley.com/doi/10.1111/jade.12422","RegionNum":4,"RegionCategory":"教育学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"ART","Score":null,"Total":0}
引用次数: 1
Abstract
Upon entering the gallery, we are met with directives, narratives, and impositions set forth by an authoritative presence. Please remove your backpack. Do not run. Do not speak too loudly. Do not touch. Do not stand too close to the artworks. The presence of security guards or invigilators enforce these instructions on how it is assumed we are to behave in such a space. But do these instructions restrict participation for the visitor? Or do they enable another type of engagement; play? Once perplexed by the visitor behaviour associated with the “museum selfie” culture, this paper will suggest the value of play in the gallery, as an initiative of the visitor to curate their own participation and engagement. In order to demonstrate these ideas of the gallery and their visitors, I will exemplify the participatory practices of Erwin Wurm's One Minute Sculptures (2017), Eva Rothschild's Boys and Sculpture (2012) and Yayoi Kusama's Infinity Rooms, to illustrate the inherent connection between play, learning and embodiment and the gallery visitor.
期刊介绍：
The International Journal of Art & Design Education (iJADE) provides an international forum for research in the field of the art and creative education. It is the primary source for the dissemination of independently refereed articles about the visual arts, creativity, crafts, design, and art history, in all aspects, phases and types of education contexts and learning situations. The journal welcomes articles from a wide range of theoretical and methodological approaches to research, and encourages submissions from the broader fields of education and the arts that are concerned with learning through art and creative education.
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