I am, of course, talking about the Queensland Gallery of Modern Art (GOMA) at South Brisbane where I’m going to see some of Japan’s finest – Yayoi Kusama’s Life is the Heart of a Rainbow exhibition. And maybe not knowing what you’re really looking at is the best way to appreciate art anyway.įurther, if you live in this fine city of BrizVegas, you’re in luck because you have what is surely one of the finest art related establishments in Queensland if not the whole of Australia. Even if you haven’t been trained what to look for, making your own sense of the art in front of you is one of the most profound, calming, inspiring, escapist, perspective adding and enriching things you can do almost any day. Still, none of that should stop me or anyone else immersing themselves in art. Try as I did to draw and paint when I was a younger human, life and other interests took over and my artistic aspirations along with my meager skills shriveled and died like an abandoned pot plant. ![]() The fact that I spend most of my time using the opposite side of my brain required to create art is testament to that. Further, repeat visitation to an artwork is also something galleries strive for, as it implies that the work has a longer-term offering, is engaging on more than one level, has multiple readings and of course- is getting the public excited enough to return.I’m sure as eggs not an art aficionado much less an artist. Repeat visitation is of course a major goal of any cultural institution, as the gallery enters into the habitual practice of its community members. The dramatic transformation of the room was highly alluring, many reviews of the work emphasise that visitors were enthusiastic to return and see the end result of the collaboration at the end of the two weeks. This is a significant education opportunity for the harnessing of an interest in artistic process as well as artistic outcomes. There wasn’t an opportunity for a visitor to ‘fail’ at this collaboration which is a fear that visitors may experience when faced with interactive art.Ĭhildren could clearly see their contribution to the work, and also, most importantly could conceive the accumulative effect of collaboration. The room was also accommodating to any use of these materials (as the photos evidence, even when visitors made their on images on the wall with the stickers the overall effect was not undermined). The room had limited materials which focused the viewer and limited their scope of behaviour. Thus, the work very easily fulfils a goal often discussed by gallery educators in respect to visitor experience- “how can we set visitors up to succeed rather than fail” (that is breech a gallery rule or expectation and resultantly have a negative experience). This simple and elegant framework meant that many thousands of visitors were collaborating, building and developing an artwork together with ease and little intervention on the part of staff or parents. The simple design also has clear advantages for the child participatory viewer, as children found the concept intuitive, once the process of ‘obliteration’ was in action there was little explanation needed, children intuitively new their role in this participatory work and engaged. As is the case with many of Kusama’s installations her premise is simple, enabling her vision to be carried out successfully again and again in different contexts, as can be seen with this re-visitation of the work. ![]() ![]() Children enlivened or in Kusama’s vocabulary, ‘obliterated’ the room - through the application, to every available surface, of brightly coloured stickers in the shape of dots. This was to serve as the start point or blank canvas for visitor action. The installation took the form of a room of furniture, all sourced locally and painted completely white. ![]() GOMA revisited the popular interactive children’s project developed by Yayoi Kusama for the Queensland Art Gallery’s ‘APT 2002: Asia Pacific Triennial of Contemporary Art’.
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