I wouldn’t ask anything else from the art world than to question every single development. Where do you see these immersive experiences having a place in the art world? But it’s never meant to be a replacement for a museum experience.
It’s an incredible reach these projects can have. The sky’s the limit with these types of devices. worked on “ Beyond Monet” that opened in Toronto in August 2021 We’re in the works with National Geographic about King Tut. I understand why every art historian who ends up specializing in Van Gogh ends up teary-eyed during a conference.
When you go into the life story, that’s where you connect emotionally. Getting into this project, I got to reconnect with the biographical. It’s funny because before this project, I’d learned about him, of course, but more on the theoretical point of view. It’s about providing different ways of experiencing art, bridging different audiences who maybe think it’s not for them, and involving them in the art world.įor people who already know Van Gogh, it’s the fantasy of going inside the work you love. Maybe they’ll be curious to see an original. To feel that they have keys, context, and by that last room, to have developed a connection with Van Gogh. What do you want Rhode Island viewers to get out of this experience?įor people who are intimidated by museums - and art can be intimidating - I’d love for them to not feel that way. Had he lived as long as Monet, he have been just as wealthy and popular. But he died at 37, and was already gaining traction. There’s this stigma around him - and it’s true - that he wasn’t making a living from painting. We can’t take away his suffering, but we can add complexity to it. Well, there is a part of that that’s undeniably true. So who was the real Vincent as you see him? You’re right that the pop culture image of Van Gogh is the pain, the ear, the asylum. It’s unfair to have his whole life reduced to the lowest point in his life, which he acknowledged and was so lucid about. Again, not this mad genius in the corner of the room, ostracized. Sometimes it’s about choosing a quote that goes along with a certain theme sometimes the words are meant to provide depth into his paintings, sometimes it’s about providing depth into who he was, how he saw the world, how he saw himself. It was about finding what resonates with modern-day sensibilities. How did you select what to use from his letters? So that’s the way we went about this show, to follow the natural evolution. So it’s really following this evolution from darkness to explosion of color. Then he gets to the South of France and you have these wonderful colors, incredible movements of the brush, the intensity, the texture of it.
Then he gets to Paris and meets the impressionists, and all of the sudden everything gets brighter. When he first started, in the Netherlands, his work is much darker - darker tones, darker shades. There’s sort of an easy trajectory into his work. He did over 850, and when you add all the watercolors, sketches, drawings, you get close to 2,000 pieces. While we don’t have the aura, the pure magic, of an original, we do have the possibility of choosing pretty much any painting. It’s hard to have a Van Gogh travel because they’re so expensive, insurance is so expensive. We have an incredible opportunity - usually museums have to deal and barter to get some pieces. We knew some were unavoidable - it would be almost cruel to not include “The Starry Night” or “Sunflowers.” But then in what order do we put them? How do we make sense of his journey? My role was to help figure out what way could Van Gogh’s story relate to a 21st century audience, which pieces to choose.
0 kommentar(er)
