In deference to the safety of the museum’s collection, painting in the Art Institute has traditionally been restricted to a limited number of students and professionals. But thanks to creative uses of mobile devices, the museum has been able to extend that artistic experience to a wider audience without spilling a drop of paint. In a recent Teen Studio Workshop on Experimental Painting, museum education staff—using an iPad app that simulates painting techniques—provided teens with a digital canvas and virtual brushes and paints. Inspired by artworks like Gerhard Richter’s Ice (1-4) shown below, participants “squeezed” virtual paint onto their simulated canvases, blended and smudged colors with a palette knife, and built up layers and textures, all through touching or dragging their fingers over iPad screens.
Museum lecturers also use iPads as virtual portfolios to show images that supplement understanding of artworks discussed on public gallery talks. Digital images on the iPads permit the audience to view sculpture from different angles, and to explore related works from the collection not on display, or comparative artworks from other museums or collections. The speaker below, for instance, shows the image of an ancient coffin to help convey the original purpose of the Egyptian funerary objects in the cases behind him. Lecturers use them to zoom in on minute details, some not detectable to the naked eye, and the highly visible backlit screen gives iPads an advantage over their paper analogues.
Lecturers have even begun to incorporate audio and video into their tours. During a gallery talk, for example, visitors might listen to the atonal music of Arnold Schoenberg and compare it to the abstract compositions of Vasily Kandinsky; or they might compare movement, rhythm, mood, or repetition in an artwork to that found in an example of jazz or classical music. A lecturer might invite visitors to explore Richmond Barthé’s bronze sculpture The Boxer and watch an archival video showing the artists process and sculptural techniques in his studio. Most recently, children were introduced to the illustration exhibition Animals around the World: Picture Books by Steve Jenkins in the Ryan Education Center both literally and virtually. First, students looked closely at the dynamic paper collages combined with amazing facts about inhabitants of the animal kingdom. Then an educator showed videos on an iPad of the animals in their habitats, enabling some of our youngest audiences to see examples of where an artist drew inspiration for his work.
Mobile technology is increasingly demonstrating its potential to connect museum audiences of all ages with the artists and their works and to provide opportunities for creative experiences through dynamic interaction with the collection. Stay tuned for more ways in which the Art Institute of Chicago will engage 21st century visitors with mobile and touch-screen technology, bringing them closer to the collection in new and exciting ways.
—Carolina K., Education Technology Manager, Digital Information and Access
1 day 12 hours ago The Art Institute of Chicago "Be a good craftsman; it won't stop you being a genius.”
Advice from Pierre-Auguste Renoir, on his birthday.
See 13 paintings by the great French Impressionist—now on view: http://bit.ly/2lj3AVq
2 days 7 hours ago The Art Institute of Chicago NOW OPEN—Go
Speed is both a product of modern life and an agent of it. At the turn of the 20th century, new technologies of mobility and transmission—trains, cars, airplanes, radio, film, television, to name only a few—increased the pace of life, collapsing distances between people and places and assaulting the senses.
Go, the second exhibition in the Art Institute’s Modern Series, explores how artists responded to different ways of experiencing and seeing the world in the accelerated modern age—through paintings, sculpture, works on paper, photographs, designed objects, textiles, books, and films.
2 days 11 hours ago The Art Institute of Chicago Happy birthday to Winslow Homer. In 1883 the artist moved to a small coastal village in Maine, where he created a series of paintings of the sea unparalleled in American art. The paintings he created after 1882 focused almost exclusively on humankind’s age-old contest with nature.
In The Herring Net, Homer depicted the heroic efforts of fishermen at their daily work. While one fisherman hauls in the netted and glistening herring, the other unloads the catch. Utilizing the teamwork so necessary for survival, both strive to steady the precarious boat as it rides the incoming swells. Homer’s isolation of these two figures underscores the monumentality of their task: the elemental struggle against a sea that both nurtures and deprives.
See five paintings by Winslow Homer in Gallery 171 of American Art—http://bit.ly/2l89rfx