Brochure

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Material Information

Title:
Brochure
Series Title:
Framing the Frame : Exhibition Proposal Presented to the Samuel P. Harn Museum of Art. Exhibition Seminar, Dr. Glenn Willumson, Spring 2011
Physical Description:
Exhibition Proposal
Language:
English
Creator:
Boyle, Kathleen
Ferrante, Laura
Soh, Hannah
Willumson, Glenn
Publisher:
George A. Smathers Libraries, University of Florida
Place of Publication:
Gainesville, FL
Publication Date:

Notes

Abstract:
Framing the Frame : Exhibition Proposal Presented to the Samuel P. Harn Museum of Art. Exhibition Seminar, Dr. Glenn Willumson, Spring 2011

Record Information

Source Institution:
University of Florida
Holding Location:
University of Florida
Rights Management:
Applicable rights reserved.
System ID:
AA00014208:00002


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Harn Museum of Art Gainesville, Florida AIMING AND FRAMING The task of any discussion of frames and framing in the arts is first and foremost to counter the tendency of the frame to invisibility with respect to the artwork. We see the artwork, but we do not see the frame. Paul Duro, The Rhetoric of the Frame SW 34 th Street and Hull Road Gainesville, Florida 32611 2700 352.392.2700 www.harn.ufl.edu AIMING AND FRAMING Month date, year month date, year Langley Foyer Samuel P. Harn Museum of Art University of Florida Gainesville, Florida Aiming and Framing" coincides with the Framing the Frame exhibition currently on display in the Langley Foyer. Exhibition and outreach materials designed by Museum Studies graduate students Kathleen Boyle, Laura Ferrante, and Hannah Soh for an Exhibitions Seminar project. The relationship between fine art and framing devices is frequently accepted without critical examination. Picture frames have been in existence for centuries, hugging works of art as they barrier the picture plane from the wall upon which it hangs. Because the traditional frame is common, its presence is often received with little consideration if not dismissed entirely as being trivial to the viewing experience. It is when one questions the reason for frames that the persuasiveness of this device reveals itself. From gallery furnishings to the very architecture of the building, the museum frames both art and visitor perception. Use this guide to find framing devices and think about how they influence the way we understand art. Why are c ertain frames and displays used more than others ? How do the framing devices used by the museum differ from gallery to gallery? In considering the frame, how is your perception of the art object changed? Find the pointer fingers, and read the explanatio n of the framing device used.

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! While literally res embling a picture frame, this arch also serves as a border into the gallery. The viewer must enter the frame physically and visually to see the art. Though this platform does not serve as a physical support for a three dimensional object, it sets the two dimensional object hanging above into its own space. It limits the viewer's access, changing the visual experience. This unique vitrine, which encloses three se parate platforms, creates an interesting viewing experience. The baskets are divided by the stands, yet united by the case. What is the resulting effect? This subtle fencing creates a nearly invisible barrier between the viewer and the art, a barrier that is unconsciously obeyed. This method of framing is often used as a security measure, protecting vulnerable objects without using a glass case. Is this understated frame preferable to other frames? Or does it intrude on the viewer's space? Like a display case, the shadow box encloses an art object i n three dimensions; however, a shadow box is usually mounted to the wall and has solid side panels a sort of extended picture frame. This protects the object inside, but also limits the viewer's access to all sides of the object. When a museum visitor pauses to rest and look around at the galle ry, a bench becomes a sort of reverse frame. Instead of situating the art, it situates the viewer. What can be seen, and what cannot, become a new image to be appreciated on its own terms. This cabin et of drawers also acts as a frame. Here, the objects often prints and drawings are presented horizontally. This is very different from most museum displays, and yet in some cases it often more closely approximates the original viewing context of the wor ks. Works on paper are often meant to be seen in books or otherwise held in hand. This cabinet allows visitors to safely view the works, while maintaining that height and orientation. A unique feature of the Harn is its enclosed gardens. Seen from multi paned windows, the gardens frame natural and man made elements, Another special architectural feature at the Harn is this nook. The window seat encloses an intimate space, containing a single painting. Again, the visitor is situated in a specific and deliberate way, but so is the painting. Cozy or claustrophobic, this space is separate and discrete from the rest of the museum experience. The museum itself acts as a frame: enclosing art, separating it from everyday life. Here at the Harn, the entrance, with is bridge and fountain, clearly delineates the museum's space, the place where the mundane ends and art begins. 1 2 3 4 5 6 7 8 9 10 1 Archway 2 Platform 3 Asian basketry display case 4 Fencing 5 Shadow box 6 Bench 7 Drawer 8 Garden 9 Nook for Herzog painting 10 Bridge to museum