The advancement of digital technology has had a resounding effect on the way we function as individuals, communicate with one another and engage with our surroundings. In the business world, this impact is so profound it has permeated almost all industries and institutions. Whilst we may expect certain traditional and historical establishments to remain impervious to such modernity, our public art galleries and museums are now a long way from the oppressive constraints and uncompromising traditions once imposed by institutional governance. Art is no longer an exclusive pleasure afforded only to ‘elite’ members of society, as was once the case: the significant challenges faced by these artistic institutions in the nineteenth century led to the gradual eradication of rigid control and stifled tradition, opening up the art world to innovation, change and modern practices. This period of revolution helped to transform galleries and museums into inclusive public spaces and vast educational resources appropriate to the needs of a progressive, modernising society.
Art history in a digital age
As a result of the evolving nature of the digital age, the majority of our museums and national galleries are getting fully on-board with the changing needs of their audiences. Like all businesses, art galleries are required to adapt and evolve in response to new challenges and demands, taking a tactical approach to the delivery of their products. By implementing digital apps for their visitors, galleries and museums are now offering an interactive medium as a new way to view art, read descriptive historical content about the works, and listen to audio guides of exhibitions and gallery spaces. Gone are the days of wall-mounted exhibition labels and catalogues as the point of reference. People are now becoming increasingly tech-savvy and, perhaps, a little intolerant or dismissive of conventional viewing practices. This is particularly true of the younger generations that public galleries are increasingly keen to attract and engage with. Whilst the art historians among us may feel a teensy bit nauseous and disheartened at the thought of these changing attitudes, it is necessary for these organisations to adapt their methods and strategies in order to remain relevant, viable and sustainable in the digital age.
The benefits of apps
Indeed, this is a contentious area for some people in the art world but, like most forms of advancement, these apps are unbelievably beneficial in many ways. Galleries can deliver much more information to the viewer in visual and audio formats that are easy to access, understand and engage with. The user becomes more involved with the work by being able to view and zoom in on an image, allowing closer inspection than the gallery would allow. They can view an image on the app and compare it alongside another work of art they are currently standing in front of. The full catalogue of artwork and supporting information about artists and exhibitions is always at their fingertips in a single location, which they can continue to view after they have left the gallery. It is also an interesting and exciting way for children to learn about art. The digital medium is one which the younger generation can relate to – standing for long periods of time in front of a multitude of paintings, sculptures and artifacts can be tiring and boring for children, so the interactive nature of an app is an effective way to keep them engaged and interested.
On the other hand…
There is, however, the danger of some viewers becoming completely detached from the work if they focus all of their attention on the images and information on the app, rather than viewing the original masterpieces they are standing in front of. This lack of engagement with the physical artwork removes the intended sensory experience and emotive response of the viewer. Artwork displayed in galleries has been created with the intention of being viewed in person, not in a flat 2D format. The scale of the artwork, its placement in the gallery and the lighting of the space are important considerations that are intended to influence the way the work is viewed and understood. By viewing the artwork on an app, these intentions are lost and the full impact of the work cannot be appreciated fully or appropriately. Of course, these negative aspects only apply to the iPad zombies that focus their attention primarily on the apps, rather than appreciating the work itself and using the app as a supporting learning resource. But, having experienced a lot of exhibitions of late, zombies are amongst us, in alarmingly increasing numbers. So, by all means, do take advantage of these apps – they are a worthwhile, fabulous addition to any exhibition experience… just please make sure the app is not your experience of the exhibition!