EXHIBITION REVIEW

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EXHIBITIONREVIEW

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EXHIBITIONREVIEW

TheArt Institute of Chicago, established in 1879, is located at theGrant Park, in Chicago. The Museum is among the oldest in the UnitedStates1.The museum’s location is suitable as it is readily available forany art enthusiast. The suitability of its location can be told bythe number of visitors who flock the place. The building is massiveand is designed in the Beaux-Arts style. The impressive ancientarchitecture is attractive. Apart from the art that is exhibited inthe museum, one would just stop and admire the architecturalstructures that the building holds. The museum could have been chosendue to its location. Evidently, its position is suitable for an artmuseum. Apart from the magnificence of the building and its location,the museum is a home to great exhibits. The Modern Wing of the museumholds exhibits such as Humanism+ Dynamite = The Soviet Photomontages of Aleksandr Zhitomirsky,Jacques-LouisDavid’s &quotNapoleon,&quot The Shogun`s World: Japanese Maps ofthe 18th and 19th Centuries, and,Doctrineand Devotion: Art of the Religious Orders in the Spanish Andes.

Reviewof the Exhibition

Oneof the exhibits at the museum is the Humanism+ Dynamite = The Soviet Photomontages of Aleksandr Zhitomirsky. Thisis a photography exhibit at the modern wing of the Art Institute. Itcan easily be located as it stands out among most of those exhibitedat the same place. It occupies a considerable space of about fivesquare meters. This is mainly due to the spacing between individualpieces and the individual sizes of the pieces. It had a substantialnumber of visitors who were mainly students and art enthusiasts. Thephotography displayed at this particular exhibition seemed to becaptivating as the visitors would stop at each piece and look at itfor a significant amount of time. The exhibit was also adequatelypublicized. One would note different posters and placards that givedirection to the location of the exhibit.

Justlike most other exhibits at the museum, this particular one wasproperly curated. This fact can be noted by the way the pieces of theexhibition were displayed, how they hang on the wall and the amountof light that each piece been allocated. Compared to the exhibittitledTheShogun`s World: Japanese Maps of the 18th and 19th Centuries,which was also on display in the same building, the show titledHumanism+ Dynamite = The Soviet Photomontages of Aleksandr Zhitomirskyhad adequate lighting. The lighting was properly done, and it made iteasy for an individual to analyze different aspects of the photosdisplayed at the exhibition. The wall on which the pieces were hangwas white in color just like TheShogun`s World: Japanese Maps of the 18th and 19th Centuries, butgreat effort was employed to ensure that there were no shadows. Thecolor interacted with the wall in a proper manner creating somecontrast in the photos which were mostly black and white. The displaywas also made in such a way as to allow comfortable viewing of thepieces by multiple visitors. The floor of the space had woodenfinishing, which had a characteristic smooth texture.

Theorganization of the pieces at the exhibition had no particularmeaning. The pieces were duly organized, but I could not draw anymeaning from the manner in which they were displayed. The pieces werehung on a level that made it easy for any individual to view. Fromthe text written on each piece, one could tell that the pieces had apolitical and historical meaning. The texts were properly created anddisplayed in a manner that is comfortable for reading. They alsopresented adequate information about each piece. The pieces were arepresentation of the artist’s view of the political arena ofdifferent parts of the world (Thorne, 2011). Meaning can be drawnfrom the various characters represented in each piece at the exhibit.This could be the reason for their selection of the exhibition. Oneparticular photomontage piece that drew my attention displayed a manbeing chased by a police dog in a gathering.

Fromthe texts placed against the art pieces of Humanism+ Dynamite = The Soviet Photomontages of Aleksandr Zhitomirsky, itis clear that the curator aimed at passing as much information aspossible to the viewers. I also think that the exhibition had a moreadvanced underlying message that the curator wanted the audience toget from the exhibition. Compared to other exhibits in the samebuilding of the museum, the exhibition titled Humanism+ Dynamite = The Soviet Photomontages of Aleksandr Zhitomirskyaimed at a mixed type of audience. The general public can easily getmesmerized by the photos on display, including its contents andmanner in which the characters were presented, unlike the otherexhibits where one would have to think critically to find theirmeaning or appreciate them. On the other hand, Humanism+ Dynamite = The Soviet Photomontages of Aleksandr Zhitomirskyalso had the power to attract an educated art-world insider due tothe style and other more sophisticated aspects represented in theexhibit. The exhibit attracted a significant size of the audience.The onlookers spent a substantial amount of time on this particularshow compared to the others displayed in the same building.

Conclusion

Allthe exhibits viewed in the museum were attractive, mainly due to thework that the curators had done in displaying them, and the work thatthe artists had done. The Art Institute of Chicago is properlysituated, and the building is suitable for housing art pieces fordisplay to the public. Different exhibits were being displayed at theModern Wing of the museum. The exhibit titled Humanism+ Dynamite = The Soviet Photomontages of Aleksandr Zhitomirsky wasparticularly well displayed and aimed at a mixed type of audience.

Bibliography

Thorne,Colleen. &quotThe Art Institute of the Chicago Buildings in1879-1988: A Chronology.&quot ArtInstitute of Chicago Museum Studies14, no. 1 (2011): 7. Accessed November 8, 2016. doi:10.2307/4108770.

Appendix

Figure1: The art of Humanism + Dynamite = The Soviet Photomontages ofAleksandr Zhitomirsky

1 Thorne, Colleen. &quotThe Art Institute of Chicago Buildings 1879-1988: A Chronology.&quot Art Institute of Chicago Museum Studies 14, no. 1 (2011): 7. Accessed November 8, 2016. doi:10.2307/4108770.