Why Digital Museums Need “Walls” Part 3: Transforming the Online Museum

This is the third post in a 3-part series on reimaginging André Malraux’s Museum Without Walls and what it means for the future of digital exhibitions.

The first virtual museum was a prototype of online database museum: an image collection with label information accessed through pull down menus or search options. But access is utilitarian rather than aesthetic, informative rather than experiential.

In his book, Malraux mentions the time when paintings were mere decoration and statues were interfaces for divine communication. Art objects did not always have the aesthetic and conceptual impact they have achieved through mere presentation in a museum space. To Malraux, art becomes art when it takes on an added significance through display in an art museum. Pre-historic cave painters did not believe they were creating art. They thought that drawing a buffalo on the cave wall would lend them greater strength in the hunt. These paintings are now revered as beautiful, powerful images rather than tools.

Online museums are currently in this tool-like stage. An equally powerful transformation must occur in the digital space, one that transforms a mere “objective” image of an artwork into an object of meaning and contemplation in itself. We paint our recreations of Picassos and Monets in pixels instead of pigments but the act is essentially the same. We have been putting images of paintings and sculptures online for chiefly utilitarian, not artistic purposes.The online representation of art must become an art in itself.

Art “was always recognized as something different in kind from the world of appearances, for that quest of quality implicit in all works of art inevitably leads it rather to stylize forms than slavishly to copy them.” pg 87 — online museums should be stylized museums, not direct copies.

Bear71 embodies this new stage because the found footage has been transformed from documentation to illumination. It has become stylized. It is no longer the thing in itself but a greater thing fraught with symbolic weight.


Why Digital Museums Need “Walls” Part 2: Bear 71

This is the second post in a 3-part series on reimaginging André Malraux’s Museum Without Walls and what it means for the future of digital exhibitions.

I passed trees and train tracks, watched a cougar pad through the snow and dig its front claws into the trunk of a tree. I saw a merganser and her chicks waddle over a rocky path while, across the lake, ravens picked at the carcass of a decaying deer.

Bear 71 was elsewhere in the park, hunting for food and walking past another of the dozens of trail cameras placed throughout the Banff National Forest. But I could still hear her voice through my earphones as she narrated the story of her life. With a biting mixture of lamentation and resignation, the she took me from the moment she acquired her electric collar at age three until her tragic demise a mere eight years later.

Technology may not have advanced quite so far as to enable us to listen in on the eloquent thoughts of a Canadian grizzly, but it can provide a remarkably compelling online experience of real-world events. Bear 71, the interactive documentary by Leanne Allison and Jeremy Mendes is the future of digital storytelling and probably the future of online museums.

Allison and Mendes combined first-person (first-bear?) perspective with wildlife research data and low-res documentary footage, organizing and overlaying it upon a navigable, data-visualized representation of the Banff National Forest. Both functionally and aesthetically, the work evokes the high-tech, eternally connected culture of Web 2.0 alongside the dark, visceral awe of nature– both its beauty and its ruthlessness.

This is the Museum Without Walls of the future. It is a collection of materials accessible to anyone with an internet connection– but with a spatial navigation that enhances meaning to an extraordinary degree.

If you have 20 minutes, explore Bear 71. You won’t regret it.

In my next post, I’ll unpack further implications of Bear-71-like digital exhibitions.


Why Digital Museums Need “Walls” Part 1: André Malraux

This is the first post in a 3-part series on reimaginging André Malraux’s Museum Without Walls and what it means for the future of digital exhibitions.

I’ve been trolling a number of online museums lately–The Louvre, Google Art Project, Gallery of Lost Art– and only just read André Malraux’s Museum Without Walls (1947). Museum writers and theorists interested in digital collections often reference Malraux and credit his conception of a a comprehensive collection of art reproductions (a museum– without walls!) as the forebear of today’s online museums and digital collections.

Malraux’s begins with the idea that, historically, taking an object out of its original context and placing it in a museum fundamentally changes the very nature of the object, changes its purpose from utilitarian to aesthetic. He writes, “the Art Museum brought about a drastic change, transforming the artist’s visions into pictures, as it transformed the gods into statues. … Though Caesar’s bust and the equestrian Charles V remain for us Caesar and Charles V, Duke Olivares has become pure Velasquez.”” (Museum Without Walls, pg 14). In this way, a table created for utilitarian purposes or a religious icon created to access the sublime are transformed into aesthetic objects, what Malraux calls style. Pre-historic cave painters did not believe they were creating art. They thought that drawing a buffalo on the cave wall would lend them greater strength in the hunt. These paintings are now revered as beautiful, powerful images rather than tools.

Malraux argues that his collection of reproductions performs the same transformative function but better. Photographs or art are not bound by the limitations of physical display. Exhibiting pictures of artworks is infinitely easier to access/transport/display/juxtapose than the artworks themselves. In an instant, one can place a picture of The Sphinx beside a picture of the Eiffel Tower.

True! However, what Malraux failed to anticipate and what his supporters fail to take into account is that our society has, in the decades since the book was written, fundamentally changed the way we interact with images. The great flattening of scale and texture and mobility that Malraux championed in his museum of photographic reproductions means, in the age of Facebook and Pinterest, that a picture of a Rubens painting has the same viewing impact as a picture of my neighbor’s cat.

The thing about walls is that they separate. They are a means of organization, a platform upon which objects cohere into greater meaning. Museums were able to transform objects into art by setting them apart from everyday life in a special place so that the viewer was physically, visually, mentally primed to experience the exhibition in a certain way. In the digital sphere, Malraux’s Museum Without Walls is a museum without the mental space for contemplation as art. Online, the aura of the object-transformed-into-art is lost in the infinite sea of images.

How to create an image-based online exhibition with “walls”– an exhibition that creates this mental environment? Stay tuned for Part 2!


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