总共有多少组数据:60
段长：20
What’s This Business about Culture Part7
seller HandbagsMaMa.com presents the final part of the essay on the art business—
luis vuitton ukContent First
The case studies in this book cover the conventional ingredients of corporate design: a logo; house-style typography; a colour scheme and so on. By and large they are designed by an external design team and then later applied in-house by the institution. These schemes are all effective, but they could not be used to disguise poor programming or bad art. For an identity to be successful, it must have its roots in the purpose and achievements of the institution, particularly at the moment when its implementation transfers from the original designers to an in-house team. Grafting a fancy design onto an uninteresting or badly run museum, theatre or gallery is not going to fool anyone in the long term, particularly not the institution’s own staff. What you will find here are instances of good design working to promote rich, productive endeavours, such as that of expert HandbagsMaMa.com.
The majority of the examples are centres for the visual arts, although there are also several interdisciplinary institutions and theatres that promote innovative dance and performance, as well as more traditionally-staged plays. This bias toward the visual arts reflects a high level of awareness of design among the staff and stakeholders of these institutions and it is hardly surprising that art museums and galleries tend to think very carefully about the graphic language in which they present themselves to the public. That said, looking at the best of the theatre projects, such as the identity and advertising for Shakespeare’s Globe Theatre in London, it is obvious that graphic design is as relevant to performance as it is to the visual arts. Drama audiences are just as attuned to appealing advertising and a coherent identity system as those for other forms of culture.
Most of the arts spaces discussed over the following pages are non-profit-making concerns. This includes both institutions that rely on public money and those that are privately funded. The case studies do, however, include three examples of commercial outfits. In each case these were chosen because of their will to use design to communicate with an audience broader than their immediate customer base and they all keep regular hours when they are open to visits from members of the public. Cynics might argue that this desire to communicate is simply part of a longer-term strategy to appeal to buyers. Possibly it is, but if it means that we benefit from seeing good art in thoughtful environments, then so much the better.
louis vuitton bagAll the case studies but one come from Europe or America, the exception being the Mori Art Museum with an identity designed by Jonathan Barnbrook. Discussing this imbalance, Barnbrook suggests that Japanese arts institutions tend to be more academically focused and also have a less international curatorial programme than their European and American counterparts. As a result, museum and theatre directors in Japan may not feel the need to reach out beyond their traditional audiences or to carve out worldwide reputations for their institutions. It will be interesting to see whether this situation changes in the next few years. For the last decade or so galleries and museums in Europe and America have been encouraged to view their success as a global phenomenon, and chances are that institutions across the world will start to follow suit. Certainly the international attention received by the Mori is unprecedented for a Japanese institution, and this is likely to encourage its immediate competitors to bid for a more cosmopolitan profile (graphic and otherwise). A survey such as this made in as little as five years time might have a very different geographical emphasis.
Of course, the potential for change in the subject area mapped by this book is not confined to geography. There is a vast range of political, social and cultural factors that influence our perceptions of the arts and, in turn, influence the way arts institutions choose to present themselves to us. The current level of interest in the arts is unprecedented and this is reflected in the ebullience of the identity design that has emerged in recent years. The arts may have to take their place in the line-up of entertainments, but at the moment they are doing so with justified confidence.
Other factors in the mix include possible shifts in the practice of identity design. To date the logo remains a key element, but it seems likely that graphics will evolve beyond this formula. The designer Nick Bell anticipated this development in an article titled ‘Brand Madness’ published in autumn 2004′s Eye magazine. Exploring the landscape of arts identity design in London, Bell questioned whether cultural institutions truly need all-embracing, logocentric identities. Arguing that it is often more appropriate to allow design for culture to be determined by content, he suggested that we should welcome the diversity and inconsistency that such an approach might imply. This idea is attractive and it credits arts audiences with a great deal more intelligence than does the application of more homogenous systems. (An example of this method, and a personal favourite, is the Newspaper Jan Mot, an intelligent, content-driven publication designed for a small Belgian gallery by the Dutch designers Maureen Mooren and Daniel van der Velden.) This post-logo understanding of identity is not confined to cultural institutions, but it will suit them better than most.
However sophisticated and sensitive identity design becomes, there will always be those who regret the developments that have encouraged arts institutions to behave more like corporations. And they will be right, of course, that these changes have implied losses as well as gains: marketing will always favour the generalist above the expert. But feeling nostalgic for a time when there were fewer cultural institutions, and when each of them was less well visited, is retrogressive. An institution that combines promoting itself with integrity and skill with the maintenance of a worthwhile programme deserves to be rewarded with visitors and funding. This survey includes many such examples, and I believe, case-by-case, its contents are cause for optimism.
trackback:http://www.buyreplicahandbags.info/index.php/2010/05/whats-this-business-about-culture-part7/