Art museums

The art museum (called art gallery in some places) is concerned primarily with the object as a means of unaided communication with its visitors. Aesthetic value is therefore a major consideration in accepting items for the collection. Traditionally, these collections have comprised paintings, sculpture, and the decorative arts. A number of art museums have included the industrial arts since the 19th century, when they were introduced, particularly to encourage good industrial design. It can be argued that aesthetics have subordinated function and association to such an extent that objects often are presented in a totally alien context. In some countries this criticism applies to archaeological material as well.

The display of works of art presents the curator with certain problems. Works of art are exhibited to convey a visual message. While other disciplines tend to adopt didactic methods of display, the art curator is concerned particularly with unimpeded presentation of a given work. The ambience of the work is enhanced by highlighting its form and colour with proper lighting and background. At one time, artificial light was preferred for paintings, both to create an effect and to prevent exposure to harmful elements in natural light, but it sometimes provides an unnecessarily theatrical presentation or creates an artificiality that can inhibit the visitor’s appreciation and enjoyment of the work. Much greater use is now made of indirect natural light or—as at Tate Britain in London, for example—a controlled mixture of daylight and simulated daylight. Some art museums have returned to the earlier custom of hanging paintings in a tiered arrangement in order to exhibit more of their works. Digital art and digital displays of non-digital art present a whole host of additional opportunities and challenges.

(Read Glenn Lowry’s essay on "Art Museums & Their Digital Future.")

The search for context has led to the design of period settings in which to present certain art objects, to the development of furnished period-house museums, and to the preservation of country houses and other appropriate properties, together with their contents, in situ. In a specialized context, the restoration of the Moscow Kremlin, particularly the Great Palace and the churches with their fine murals and icons, provides an example of this approach. Some of the churches are open to the public as museums. Some art museums have introduced other visual and performing arts—music, film, video, or theatre—to facilitate or enhance interpretation. Artist-in-residence programs also assist in promoting art and art appreciation.

Another factor in the display of art objects concerns their continued preservation. Because of the sensitivity of some of the materials used in their creation, it is necessary to control within narrow limits the temperature, humidity, and lighting to which they are exposed. In addition, sophisticated security precautions are necessary for items of high value.

In many cases, contemporary art is displayed in a separate institution. The role of such museums is to confront the public with art in the process of development, and there is a considerable experimental component in their exhibits. This is particularly so at the Pompidou Centre in Paris, the Stedelijk Museum in Amsterdam, and the museums of modern art in Stockholm and New York City, where unconventional art forms are presented. Because of the experimental nature of contemporary art and the high cost involved in purchases, temporary exhibitions normally play a major role in such museums and in some cases are their principal activity. Sculpture is often exhibited outdoors, as at the Hirshhorn Museum and Sculpture Garden in Washington, D.C., the Open-Air Museum in Hakone, Japan, and the Billy Rose Art Garden in Jerusalem.

Virtual museums

A virtual museum is a collection of digitally recorded images, sound files, text documents, and other data of historical, scientific, or cultural interest that are accessed through electronic media. A virtual museum does not house actual objects and therefore lacks the permanence and unique qualities of a museum in the institutional definition of the term. In fact, most virtual museums are sponsored by institutional museums and are directly dependent upon their existing collections. Nevertheless, through the hyperlinking and multimedia capabilities available via the Internet, digitized representations can be brought together from multiple sources for enjoyment and study in a manner largely determined by the individual user. Virtual museums of this type can be a powerful tool for comparative study and for research into a particular subject, material, or locality.

Many virtual museums have their roots in a museum’s Web site. At their most basic, these sites offer administrative information such as opening hours, policies, and services; some even include a floor plan of the museum. Virtual museums in this limited sense join the exhibition, the guidebook, the photograph, and the video as a medium for promoting and interpreting a museum and its collection. But these sites are growing in sophistication. Many offer “virtual exhibitions”—that is, online tours of certain key exhibits. Still other museums or administrative organs provide access to databases on collections—for instance, the Joconde database, maintained by the French Ministry of Culture, from which information can be obtained on important works of art held by more than one thousand French museums.

Several institutions collect representations of widely dispersed objects that may or may not be found in museums. One of the pioneers in this field was ArtServe, a collection of thousands of images, particularly of classical art and architecture, made available by the Australian National University for teachers and students of art history. Virtual museums in this sense offer the student many benefits—not least in the selection of material for detailed study—even though final recourse may be necessary to the original material.

Virtual museums in the fullest sense of the term consist of collections that take full advantage of the easy access, loose structure, hyperlinking capacity, interactivity, and multimedia capabilities of the Internet. Indeed, some early electronic collections were used to promote Mosaic, the first graphical Web browser, when it was introduced in 1993. One of the first was EXPO, which originated in 1993 with an online guide to artifacts from the Vatican Library that were on display at the U.S. Library of Congress in Washington, D.C. EXPO was later maintained on servers outside of the Library of Congress network and was expanded into several “pavilions”—including archaeological, architectural, historical, and paleontological exhibits—which have been donated by several organizations. Another pioneer was the WebMuseum, an exhibition of artworks by Western painters from medieval times to the present day that began in 1994 by a computer scientist at the École Polytechnique near Paris. The WebMuseum grew to incorporate reproductions of paintings, background text, and musical selections submitted by a large number of contributors.