Museums will not vanish in the flood of technology. Even with the fast development of technology and increasingly various use of technology, the function of the museum will not be weakened. The museum is the palace of aesthetics, history and culture. It is the core node in the web of society, connecting the history and the future, connecting the progress of beauty, connecting the public and the privileged class.

“We live and think in interpretive communities, and ‘use’information represented in symbolic form so that we can build ‘cognitive maps’ in which meanings and values become interpretable.” The museum helps to form the symbolic meaning and decide what is beauty. It is an interface to the cultural aesthetic.

Wherever and whenever, Museums have their specific meanings.

1) A certain beauty in a certain environment

Just like what we have seen in the Hirshhorn Museum, Pickett’s Charge was installed  in America’s Capitol connects history back to present day, and brings time full circle, much like the shape of the Hirshhorn. It’s so big, which makes me feel like what it has described and depicted was just happened around me. Only by experiencing in the Hirshhorn Museum can we better learn the history and the meaning that it wants to convey.

Took in the field trip Andrea

https://hirshhorn.si.edu/exhibitions/mark-bradford-picketts-charge/

To this extent, the museum works as the interface to the history. The beauty of such a work can only be appreciate in such a museum. You can have a general view of works of Mark Bradford, however, you may not experience the carriage of history is coming.

2) Understand the artist through the dialogue created by the museum

This winter, I visited the Shanghai biennale. There is an oval hall, with 360 mechanical clocks arcing in a circle, each 4 seconds faster than the previous one, adding up to 24 hours a day. When I entered the bright hall, I could only hear the ticking of the second hand. There is a feeling of breaking into the future world. The oval exhibition hall not only shows the cycle of time, but also highlights the infinite elongation of time. Bright lights and white walls make visitors feel as if they are in a time tunnel and can feel the power of time.When I immerse yourself in the space field of clockwise, I could perceive a synchronicity of everything and a fluid modernity.

Took by Andrea

According to the artist Cristina Lucas , she focuses on dividing and ordering time, thus highlighting the spatialization and standardization of time. She is not telling the audience that time is fleeting, but trying to reveal the modernity and political nature of the rationalized “time” under the background of the development of the mechanical age and information age with this poetic visual expression.

The resonance between ordinary people and works of art is mostly derived from the intuitive visual experience. Seeing the original works in the art museum brings a touch that cannot be reached by reading books or looking at pictures.

3) an interface for the public  to the “uniqueness,” “authenticity,” and scarcity

Why do we visit the museum? To have a luxury experience and luxury enjoyment. Although without art we can still live in the society, we need art to educate ourselves. In the museum, we are the same regarless of our social status, race, gender, age. An ordinary person can have the same power to appreciate art as the richest person in the world. We even have more time and opportunities.

In the art museum, you can participate in a variety of Tours and activities. The instructors include the staff of the art museum, professors and students of the school. Under the guidance of these people, you can complete an art tour and get a lot of new knowledge and ideas.

You’ll also see a variety of children’s projects. Even a 4-year child can have an interesting art trip in the museum. Museum breaks the boundary. The museum allows the public to enjoy the art once only can be appreciated by the privileged class.

References:

• Martin Irvine  “Making an Interface”: on the next step: kinds of interfaces for artworks and how to design one.
• Beil, K. (2013). Seeing syntax: Google art project and the twenty-first-century period eye. Afterimage: The Journal of Media Arts and Cultural Criticism, 40(4), 22-27.
• Proctor, N. (2011). The google art project: A new generation of museums on the web? Curator: The Museum Journal, 54(2), 215-221.

• From the Altar to the Street

Art is full of a sense of sacredness. Every piece of art work has its specific and unique meaning, which has become a historical existence since its birth.  This kind of feature leads to the nature distance between the art and public. In reality, the images are placed in the church instead of in every corner of the family and society. Hymns are performed in the ceremony instead of being randomly sung as pop songs. Another meaning of the distance is sacred inviolability. In the way of receiving art, people adopt a way of “staring”, through which they can achieve rapt attention, meditation and divine power

Technological reproduction makes the objects receiving artistic works reach the level of “Tactile receiving” due to the reduction of natural distance. At the same time, it also makes it possible for the public to change from the object of viewing artworks to the subject of creating artworks. It does not need more professional training to create artworks through technological reproduction, but only needs artistic concept.

Just as in the beginning, artists used photography as a tool rather than an artistic medium for creation: that was, painters often used photos to help their paintings. The recording function made photography as a kind of tool, and the tool, like the painter’s brush and canvas, could not be regarded as a piece of art.

On the other hand, photography, even as a recording tool, posed a threat to painting at its birth. Photography simplifies the process of creation and lowers the threshold. At this time, if photography was regarded as an artistic medium, it had been unintentionally equivalent to lowering the threshold of art. Before photography, for example, portraiture was a privilege reserved only for aristocrats, royals and the wealthy. A good portrait is a test of a craftsman’s skill. Photography suddenly simplifies all skills. Compared with painting, photography is easy to operate. Ten years of painting practice even could not be compatible with the short exposure. At the same time, the cost of the portrait fell sharply. Portraits were no longer a symbol of privilege, and portrait painters faced a great threat at that moment.

The contradiction lies in the relationship between the objectivity and subjectivity of photography itself decides the fact that photography was transferred from a tool of reproducing the reality to the art. Art as an emphasis on subjective expression requires author’s own mark on it. Therefore, although photography itself can well record things, it emphasizes that the way to record things is the subjective embodiment. A photographer does not claim rights to his photographs by signing them, but his personal marks are often reflected in the objects he photographs, so modern photography is limited to “photography of something”. But photography, like painting, can lie, can express, and can have an emotional impact on the viewer.

However, in terms of history, photography actually lacks a complete and unified development direction. Although Pictorialism and Straight Photography were mentioned in class before, it is also difficult to summarize its development. Photography is more easily defined by a group of people. The wide use of photography makes its purity lower than that of painting and sculpture. Photography can be used not only in the commercial way but also in the medical aspect.

• Cross the Boundary

Imagine if a flower or a tree had grown since the 16th century. How would you feel when you saw it? The same is true for works of art. Work of art is a living thing and no reproduction can take away its experiences and uniqueness.

Mr. Bean and Monalisa
http://slide.collection.sina.com.cn/slide_26_67299_37448.html?img=435956#p=3

In this age of technological reproduction, however, each additional copy diminishes the value of the original. So they were misinterpreted, and the Mona Lisa was covered in a mustache, photoshopped with strange expressions, bangs and tiaras.

Technological reproduction has dragged the appreciation of art from the temple to thecorner of the street. According to the verification of detection effect, the art viewers have changed their artistic experience from concentration to recreational acceptance. And the function of art has changed from “requiring the public to think it carefully” to “serving the recreational needs of the public”.

Malraux believes that in the modern world, art is achieved through dialogue between works and styles. Conception of art in these days is more inclusive than ever, meaning that the scope of the dialogue is very broad, allowing us to compare paintings in Renaissance and with Chinese vases.

However, this inclusive concept of art also comes with its practical problems. Because the world of art is so vast, composed of so many individual pieces and styles, it is now impossible to even fit a small piece of art into a single museum space. Therefore, the ideal of art dialogue must occur in La Musée Imaginaire, which is a collection of all the major works of art are reflected in our imagination.

In the art world, “expansion” is commonplace. Since the essence of modern and contemporary art is “experiment”, artists themselves are fully aware of this expansion. Therefore, the art world is always forced to respond to the emerging new phenomena and cram them into the “art world”. Minimalism art can be said to be an exapmle. Today, we can completely watch the work of “safeguarding rights” of knowledge for minimalism art after the busy work of abstract expressionism art. This is the best proof of an “augmented” boundary.

But what’s interesting about the art world is that it’s a big world, and the way aesthetics works is a big world divided up into different little worlds by following the action of expanding the boundaries. The boundary and boundary compete with each other, and they have different aesthetic value standards and internal operation means. But boundaries are both fluid and collaborative. They not only compete for sources but also share resources. Their values can sometimes run completely counter to each other. But when it comes an external enemy (such as science), they form a temporary interpretive community and the boundaries become blur.

Bibliography

Benjamin, Walter and Michael W. Jennings. 2010. “The Work of Art in the Age of its Technological Reproducibility [First Version].” Grey Room: 11-37.

Bohrer, Frederick N. 2002. “Photographic Perspectives: Photography and the Institutional Formation of Art History.” Art History and its Institutions: 246-259.

Martin Irvine, “André Malraux, La Musée Imaginaire (The Museum Idea) and Interfaces to Art“.

Sontag, Susan. 2001. On Photography. Vol. 48 Macmillan.

https://www.moma.org/learn/moma_learning/themes/photography/

http://100photos.time.com/photos/hs-wong-bloody-saturday    |H.S Wong 1937

In the summer of 1937, Japanese troops sailed into Shanghai and the bombing caused widespread death and panic. Wong, a journalist, came to the bombed station and saw the crying child. He quickly took pictures and carried the child to safety. The photo, known as “bloody Saturday,” is one of the most powerful news photographs ever taken, and the pain of the baby is thought to represent the plight of China and the bloodiness of Japan.

At that time, Wong saw a man helping two children near the railway track. He first lifted one child off the rail and put it on the platform, and then went to hold another injured child. Acting on instinct as a photographer, wang immediately captured the scene and ran to save the child. Due to the film is not much, finally presented only a dozen seconds. On September 15 in that year, the photo was shown in the United States, causing huge repercussions. At the same time, the major newspapers used “Bloody Saturday” to report the Japanese bombing of civilians. It was said 136 million people had viewed the image. Of those, at least 50 million were viewed through newspapers and 80 million through newsreels. There were only a couple of billion people in the world at that time, and a lot of places still lived primitive life style. We can say that anyone who could read a newspaper or a newsreel had seen this picture.

The response was unprecedented, shocking not only the United States, but the world. Western countries, previously indifferent to Japan’s invasion of China, suddenly changed their attitude, condemning the Japanese army and expressing sympathy for the Chinese people.

To this extent, this photo shows the power of truth and misery.  It is a scene “just ‘out there’ waiting to be taken, captured from nature, or simply a ‘quotation from reality’ requiring nothing but pointing and shooting in the right direction.” (Irvine). The truth value of the picture was displayed in the war. A small picture could arouse such a big social impact. In Bresson’s own words, “To me, photography is the simultaneous recognition, in a fraction of a second, of the significance of an event.”

In my opinion, the theory of decisive moment can be described in another way: the photographer should be involved in the happening events and summarize the essence of the whole event. For a complete event to occur, there must be an event that can fully represent the center of the overall event. What I do as a photographer is to forget my own existence and integrate myself into the whole event to find this event and shoot it, so as to achieve the expression I need.

http://colinpantall.blogspot.com/2013/04/margaret-thatcher-beyond-caring.html  |Paul Graham 1984-1985

First of all, many people must feel that this kind of picture is just like a random shot, who can change who. But all of his pictures were taken in large format. And a lot of people have known how troublesome is to shoot a large picture. It can be said that the photographer will be very cautious when shooting. So every single picture of the big picture was taken with a lot of thought. One of the most striking points of this picture is the sight of adults looking to the right and children looking to the left. Adults sat there with dull faces and numbness, while the child in the pram in front and the child on the bench behind seemed to be full of vitality and curious about the world. From the perspective of clothes, it is also like a metaphor. Adults are dark colors, while children are lively colors, like a contradiction of The Times. Back then, the thatcher government used economic measures to rein in wage demands, leading to rising unemployment across England. As a result, there will be a lot of job seekers waiting anxiously. Graham recorded what was happening in the moment.

To this extent, we can say that the picture was made. Graham intended to use the contrastive tension to depict the that period: the Thatcher Government took economic measures to control people’s demand for wages, which led to the increase of unemployment in England. As a result, there were a lot of job seekers waiting anxiously. The photo not only provides a kind of testimony, but also a kind of material for people to imagine. The original country was like this, and the audience would inject their own interpretation into it.

The real life that lens faces is the marble collision of numerous and various events, presenting the appearance of despicable and accidental in every instant. Therefore, it must be a fantasy to assume that there exists a moment that can decisively present the whole event. It is impossible for everything and people in the moment to present the complete meaning. However, some immediate associations can be organized by pressing the shutter and the moment of composition. At the same time, such associations can also present the structure of forms.

This photo was took in this spring break. My friend use an app called NOMO to record that moment. This app can make the digital photo have the film sense. These days, film sense is a kind of nostalgia. People can simply using apps instead of real film camera to create such a photo with graininess. And we do not need to add an additional filter to this picture. And then I posted the photo on my social account to record my spring break.

Nowadays, more and more people love taking pictures whatever technology they use. Some are using cameras, some are using phones. Photography is now the most popular, the most healthy, the most widely involved medium. It is easy to use, to spread and with high viscosity.

It makes the art become public art. People can just use their phone to create a piece of art.

First of all, the economic cost is low. After photography enters the digital age, as a photography lover, you no longer need a special darkroom and do not need to buy a large amount of film and photographic paper. The substantial reduction of consumable investment makes the economic cost of photography reach a very low level.

Secondly, the time cost is low. If I am a painting lover, I need to sit somewhere for an afternoon for a painting. Although this problem also exists in some subjects of photography, most of the time it is very efficient. Furthermore, the technical threshold is low, you do not need to learn any skill at first. You can just press the shutter. And with the fast development of different picture-enhancing apps, people can adjust their pictures easily.

Finally, the threshold for sharing is low, nowadays, I took a favorite photo which can be uploaded to weibo and ins, and then within a few hours, all my friends have seen it, sent to some picture websites to a wider audience.

Besides, one of the most important aspects of photography is the breakdown of concepts. People hate abstract concepts, which are relatively abstract when expressed in words. Picture is a more advanced information carrier than text. It can express the delicate and vivid side, such as people’s eyes. Text is less direct than a picture.

From my perspective, photography expresses an attitude: I am alive at the moment, I love the life in front of me. With taking photos more frequently, people will experience beauty in three levels: ignorant perception of beauty, clear discovery of beauty and skillful creation of beauty.

References：

Alan Buckingham, Photography. New York: DK, 2004. Excerpts.

Cartier-Bresson, Henri and Michael L. Sand. 1999. The Mind’s Eye : Writings on Photography and Photographers. 1st ed. New York, N.Y: Aperture.

Martin Irvine, “Introduction to Photography and the Optical Image“

It was said that Rothko gave us equilibrium and Pollock took us to chaos. They are the representative of abstract expressionism. And their new artwork can be regarded as “a reflexive and self-reflexive turn in conceptions of art and the role of the artist which continues to today”.( Irvine, P1)

Both of them used their distinct art style to display their strong personal preferences and their attitude towards art. Action Painting represented by Jackson Pollock used action and gesture as the basis of creation. Color-field painting represented by Mark Rothko relies on large areas of Color to express certain ideas.

Rothko’s painting is really the code word of the art world: “frontality.” No attempt to violate a two dimensional plane — no depth, no Angle; Any concrete interpretation is crudely forbidden (there are no empty beaches, no sky, no clouds). “This style offered him the elimination of all obstacles between the painter and the idea and between the idea and the observer by getting rid of anything that triggered history or memory or narrative or even geometry.” He used colors to express emotions and these emotions and feelings connected observer and painter, which created a dialogue. All the value of this pure abstraction is reduced to the viewer’s response and appreciation of the tone, relationship, and balance or imbalance of the composition of each color block. Through the rigorous conditions it provides to the viewer, the pure abstraction itself is free from error, if properly appreciated. In spired by Nietzsche, Mark Rothko’s art focuses on the expression of spiritual connotation. He tried to reflect the profound symbolism through limited colors and minimal shapes. He believes that western civilization today is rooted in western traditional culture, especially Greek culture. The conflict between human and nature, between individual and group, is the reflection of human’s basic living state. He was trying to create an overwhelming sensory experience for the viewer through monumentality simplicity and stillness many have described standing before a Rothko as a Religious Experience. He said, “If you are only moved by color relationships, you are missing the point. I am interested in expressing the big emotions – tragedy, ecstasy.” Rothko wanted to make you feel something to encounter the undefinable to stare into the void to confront universal human tragedy; this isn’t painting about nothing it’s painting about everything.

Pollock’s painting does have some sort of “ineffable appeal.” Pollock’s brush never touches the canvas, and the paint drips on it like a raindrop, and it is called Drip Painting. There is beauty in the drop of paint, in the natural curves, in the right color scheme, and pollock elevates that natural beauty, recreates it, sublimates it into art. When Pollock was creating, after he hit the paint bucket with his body, the pendulum movement of the rope and the vibration of the paint bucket made the falling paint produce countless lines with self-similarity in different proportions. And these naturally formed seemingly entangled paintings, but potentially indescribable beauty. Critics of the secret art of masterpieces have argued that Pollock’s work is different from the desultorily scribbled work in that although the pictures seem random, the lines and colors always contain a special attraction Just judging from the first impression, Pollock’s works “dirty” picture, line “mess”, “poor” to the seemed to be spilled paint random canvas, of course, through images and screen has greatly reduced the effect of the original “shock” effect, because the common characteristics of these paintings is a larger picture, and on the canvas in the representational style to express their ideas, through the screen can’t direct perception of giant format and sensory of interaction and experience. Manic appearance, hidden under the exquisite poetry. The crazy picture, no doubt, is from a frenzied mind. Staring at these images for a long time, under the surface of madness, a sense of order and precision arises, as if these works are extracted from the solemn nature and are part of it. Pollock’s works are like the force of nature, with abundant energy. When he closes his eyes, he will never forget it for a long time. His stormy pen is like a black hole in the universe as if it can absorb everything in the world.

Both of them can be viewed as the pioneer of artists who abandon the traditional idea of having concrete objects as carriers. The idea itself becomes more important than concrete objects. In his or their works, you can no longer find the concrete things: people, trees and houses are all gone. Only abstract color blocks, lines, strokes, in their works, the concept has become more important than ever. Of course, you could also say that Pollock and Rothko’s success could not be separated from America’s urgent need to compete with Europe culturally after world war ii. However, we have to admit that they are masters of connecting the past with the future and creating a new era.

References

Irvine, Professor Martin. Introduction to Modern Art and Modernism: Framework for Case Studies at the National Gallery of Art and the Smithsonian American Art Mus

Laurie Schneider Adams, A History of Western Art. 5th ed. New York: McGraw-Hill, 2011. eum.

Here attached an interesting pic I found:

The first time I saw the Rothko’s painting, I thought it is a flat canvas of The accumulation of red lumps and you can do it on your own Google. And I asked what is the point of such pictures? There’s nothing to see.

Later, I have learned this kind of painting reflects the emotion in the depth of our heart. It displays pure and strong emotion. From this perspective, I think my learning of the background of this painting is worked as “prior interpretants” (Irvine, Introduction to a Peircean Visual Semiotics, 20). I have learned the meaning of this painting which was interpreted by the previous people and I was framed into this framework.

And my second experience of appreciating Rothko’s painting is similar with the experience describing how people view The Starry Night.  In the Introduction to a Peircean Visual Semiotics: De-Blackboxing Meaning-Making in Art and Visual Media, it was said that the first idea come up to our mind is not the “actual scene“ of a night sky, but is this painting resembles Van Gogh’ s painting. When my second time to saw the Rothko’s painting, I first realized that it was distinct Rothko’s style. And Professor Irvine in this article then maintained that we usually “correlate the features and identity of the artwork with symbolic correspondences in the larger cultural encyclopedia.” (Irvine, Introduction to a Peircean Visual Semiotics, 21). It is true that I then applied what I have learned before to my view of the painting. I started to feel the emotion that it wants to convey. I felt the power of the bright red, sucking everyone in. I just walked slowly towards the painting, my heart beating fast; I couldn’t take my eyes off the picture. I stood staring at the picture for five minutes. There is no way to get that immersion from a book. In this room, all the beautiful paintings containing strong emotions were around us and I realized the significance and beauty of this kind of painting.

This experience made me think of how we appreciate a piece of art. When appreciating a work of art, we should not treat it as a picture in isolation. We should pay attention not only to the work itself, but also to the time and environment in which it is created, and even to the position of the artist who created it. Art appreciation is not just a matter of looking good with our eyes. It is dialogic and the dialogical responses should be took  in the society (Irvine, Introduction to a Peircean Visual Semiotics, 14). This appreciation includes our comprehensive understanding of the artwork itself, the art market, time for this artwork, etc. By putting them altogether, we can get a more complete and profound understanding and experience.

According to Danto, art works exist in the “artworld”. To achieve any kind of status, a work of art must be in an “atmosphere of theory”.

The success of a painting depends the society and culture it belongs to. In the certain context, we can appreciate certain artworks. In the past, people admired La Source by Jean Auguste Dominique Ingres. This painting is an famous instance of Neoclassicism, using soft and varied colors and soft curves to show the classical beauty of female body. And now Fountain by Henri-Robert-Marcel Duchamp is accepted.  Because Dadaism is a reflection of the times and of the disruptive power of the first world war on many people’s old values. Since it is difficult to find practical meaning in the disordered world, we simply take this kind of disorder as the nature of the world, and use it to subvert the old aesthetic system that maintains the old order. Although these two paintings have the similar name, they symbolized different culture and thought. They are in their own atmosphere.

To this extent, we can also say that the painting works as “an interface to the cumulative deep Remix that makes it possible” ( Irvine, Remix and the Dialogic Engine of Culture: A Model for Generative Combinatoriality, 20). It’s a meaning system defined by society that defines people’s aesthetics. At the same time, we can learn the culture and history of the society from the painting.

References:

• Danto, Arthur. 1964. “The Artworld.” The Journal of Philosophy 61 (19): 571-584.
• Irvine, “Student’s Guide to Mikhail Bakhtin: Dialogue, Dialogism, and Intertextuality.“
• Irvine, Martin. 2014. “Remix and the Dialogic Engine of Culture: A Model for Generative Combinatoriality.” In The Routledge Companion to Remix Studies, 39-66: Routledge.

Question:

• Whether the art need to be understood by the public?
• If an artwork cannot be appreciated by majority (even well-educated ones), then where does its value or even aesthetic value come from? Can we say that these things are just entertainment for a very, very small number of people?
• How can we understand the relationship between Beauty and Art? Whether a piece of “art” need to be beautiful?
• What is the boundary of the art? What factors influence the boundary?

The Internet changed our life and society a lot in this new era. To this extent, technology shapes our society. The museum, as an important cultural interface in the network of the whole society, is undoubtedly influenced by the internet. Arthur Park once cautioned the museum that they had to change. Otherwise, the unchanged museums were “dead institutions” (Alexander, p.10). Therefore, many museums make full use of the internet and digital media to maximize their value and expose functionality.

On the one hand, the integration of the internet and the museum makes the art more accessible. Museum was originated from the word “muse.” “Muse” is not only the symbol of beauty but also the representative of mystery and unattainability. Internet uncovered the veil of the muse. First, People do not need to spend a lot of time (sometimes some money) on the way to the museum. If Chinese students want to learn some paintings of World War II, they can just enter into key words in Google Arts and Culture and may find Guernica in Museo Nacional Centro De Art.

It saved their time on the trip to Spain. From this perspective, the internet also helps to extend the educational function of the museum, which engages people from all over the world into “a global, international system or network of networks for Art” (Irvine, p.2). Anyone who is interested in art and museum can be connected to the museum node he or she wants to explore. They can both appreciate the art online and register some courses and tours provided by the museum just by clicking the button. Meanwhile, due to the accessibility of the artworks, the establishment of digitization and sharing standards of cultural relics, and the improvement of intellectual property protection system of cultural relics, a new kind of “virtual” museum beyond the space will appear. Different museums can easily get access to each other and hold a virtual online exhibition together. The function of the exhibition is strengthened.

On the other hand, the internet may change the exhibition experience. Take the No.9 painting as an example. We can learn some basic information about it on the webpage of the Philips Collection Museum. By clicking the “Enlarge” button, we can have a clear view of No.9. However, from my standpoint, only by visiting the museum and taking a close look to it can we have a better understanding of this piece of art. Firstly, I found that Mondrian used different black to separate the space. Those overlapping lines which I thought they were of the same color when I watched it online are different regarding their grayscale.

Different shades of color help to construct the sense of layering. Also, how the museum displays this painting also enrich my viewing experience. This work was hung on the latticed wall, completely blending into its background. Although this way of display contradicts the theory of White Cube which focus on removing artworks from any aesthetic context and eliminating the external influences, I still think the immersion experience reduce the distance between art and audience. The latticed wall magnifies the sense of space and unity in No.9. Rothko Room is another good example.

From the webpage, you may think his painting was the arrangement and combination of color blocks. But, if you walk into the room, viewing those painting within different distances, you may obtain an interesting experience. When I first viewed the painting from a far distance, I saw the violent collision between the blocks. Then, I took a close look; I suddenly felt that I was quite small in front of this huge paining and some kind of strong emotion swallowed me. I can feel the purity and the power of the painting. Nevertheless, we could not experience these feeling by watching the online works. The distance between the screen and eye partly negated the connection between the artworks and the audience. People’s online experience was affected by many external factors such as physical distance and computer configuration. From this aspect, the internet diminished the artistry and value of artworks.

The Internet is a double-edged sword for the museum. To what extent the museum use technology and digital media is the main concern. And with the development of digital media interfaces, how does the framework and boundaries of Art and non- Art change (Irvine, p.2)? Whether we can say that the deliberately designed webpage for us to view different artworks just like an online gallery can be regarded as a new category of Art?

Bibliography

Alexander, Edward P., Mary Alexander, and Juilee Decker. 2017. Museums in Motion: An Introduction to the History and Functions of MuseumsRowman & Littlefield.

Martin Irvine, The Insitutional Theory of Art and the Artworld, Georgetown University CCT.

Daniel Buren, “Function of the Museum.” In Theories of Contemporary Art, edited by Richard Hertz, 2nd ed., 189–92. Englewood Cliffs, NJ: Prentice-Hall, 1985.

O’doherty, Brian. 1999. Inside the White Cube: The Ideology of the Gallery Space Univ of California Press.

Photo credits:

• https://www.museoreinasofia.es/en/collection/artwork/guernica
• https://www.phillipscollection.org/learn/k-12-education

Yunhongyi Xu（Andrea）