John and Al suggested that I look at some of the following artists for design ideas: Janet Cardiff and Rebecca Horn. I also looked at Ann Hamilton, specifically her work "Corpus."
Janet Cardiff
Janet Cardiff said, in the interview that follows, that the primary thing about her work is the “physical aspect of sound,” its effect on the body, not the work’s narrative quality [1]. Cardiff’s and Bures Miller’s intention is to build with sound and make the aural material, give it the dimensionality of sculpture.
Takeaway: With Cardiff, I started thinking about exhibitions that depart from the typical gallery setup of art on the wall and the visitor passively consuming the art.
Rebecca Horn
Takeaway: With Rebecca Horn, I thought about wearables and extensions of the body. What might be some ways to attach something to the human body and make exhibitions more interactive? I especially liked the active aspect of Pencil Mask (1972), in which the art is created from the wearer of the mask.
Ann Hamilton
Corpus
Hamilton animated the volume of the space with sound, light, and millions of sheets of paper that fell from the ceiling over the course of the ten-month installation.
Takeaway: With Hamilton, I thought of different ways to activate the gallery space. It also introduced the concept of bringing movement into the gallery and I thought of an installation of feathers or wind blowing through paper to indicate people passing by one another.
Sharon Hayes
With In Everything Else Has Failed! Don’t You Think It’s Time For Love? (2007), Sharon Hayes would read aloud letters to an unnamed lover. The five speakers in this room play each of those readings in sequence.
Takeaway: Hayes's work sparked ideas of nontraditional ways to display art and tap into multisensory experiences of galleries.
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