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Red: It's not black and white.

Butterfield, Megan.

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Red: It's not black and white.

紀錄類型:	書目-語言資料,印刷品 : Monograph/item
正題名/作者:	Red: It's not black and white./
作者:	Butterfield, Megan.
面頁冊數:	144 p.
附註:	Source: Masters Abstracts International, Volume: 52-06.
Contained By:	Masters Abstracts International52-06(E).
標題:	Design and Decorative Arts. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=1556112
ISBN:	9781303900143

Red: It's not black and white.
Butterfield, Megan.

Red: It's not black and white. - 144 p.

Source: Masters Abstracts International, Volume: 52-06.

Thesis (M.A.)--Corcoran College of Art + Design, 2014.

RED: It's Not Black and White will be a multi-disciplinary, multi-perspective exhibition exploring the power and perception of the color red across cultures and centuries. Vivid, vibrant and vital, for visual and symbolic power, red has no rival. Throughout history and across the globe red represents extreme sensations and sentiments at the center of the human condition: love and hate, life and death, vice and virtue. Physicists, philosophers and painters have all grappled with the complex science and symbolism of red. The topic red is inherently interdisciplinary and interactive so an exhibition about red ought also to be multidisciplinary and multisensory. This exhibition will enable a highly diverse audience to engage deeply with the color red, sparking curiosity, inspiring imagination and stimulating dialogue. Technological advances, globalization and shifting consumer expectations have altered the way exhibitions need to be developed and designed, but interdisciplinary experiences are still not the norm within the traditional structure of single subject museums and siloed curatorial departments. Fortunately, innovative leaders, open minded curators and inventive designers are increasingly taking risks, responding to audience research and reimagining what a museum experience can be. Because exhibition design is itself a collaborative process, exhibition designers are in a unique position to facilitate interdisciplinary integration. RED will draw on that innovative thinking. Art and artifact from antiquity to today will be re-mixed with fashion, photography and popular design. Experiential art installations and interventions will illustrate and interpret the science, sensation and symbolism of the color red. Multiples will be a conceptual, visual, and thematic motif: multiple disciplines, multiple cultures, multiple perspectives, multiple meanings and actual multiples of objects (soup cans, shoes, Rothkos, lanterns, stop signs, roses, veins or Valentino gowns). With its resources and reputation, the National Gallery of Art in Washington, DC, is an ideal location to present such a complex and colorful story. The National Gallery is an encyclopedic museum known for innovative temporary exhibitions. It has collections, connections and clout, a large, international audience and a solid local base. In this exhibition I want to create collisions of images, installations, texts and sensations that spark intellectual, physical, psychological and personal response. By utilizing clean, clear and consistent design elements, I hope to solve the design challenge of constructing context and cohesion rather than chaos. I aim for the exhibition to be smart, sensual and stimulating. While everyone is familiar with red, I hope Red: It's Not Black and White prompts visitors to focus and see red in a new way.

ISBN: 9781303900143Subjects--Topical Terms:

1024640
Design and Decorative Arts.

Red: It's not black and white.
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245 1 0 $a Red: It's not black and white.
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500 $a Source: Masters Abstracts International, Volume: 52-06.
500 $a Advisers: Clare Brown; Nigel Briggs.
502 $a Thesis (M.A.)--Corcoran College of Art + Design, 2014.
520 $a RED: It's Not Black and White will be a multi-disciplinary, multi-perspective exhibition exploring the power and perception of the color red across cultures and centuries. Vivid, vibrant and vital, for visual and symbolic power, red has no rival. Throughout history and across the globe red represents extreme sensations and sentiments at the center of the human condition: love and hate, life and death, vice and virtue. Physicists, philosophers and painters have all grappled with the complex science and symbolism of red. The topic red is inherently interdisciplinary and interactive so an exhibition about red ought also to be multidisciplinary and multisensory. This exhibition will enable a highly diverse audience to engage deeply with the color red, sparking curiosity, inspiring imagination and stimulating dialogue. Technological advances, globalization and shifting consumer expectations have altered the way exhibitions need to be developed and designed, but interdisciplinary experiences are still not the norm within the traditional structure of single subject museums and siloed curatorial departments. Fortunately, innovative leaders, open minded curators and inventive designers are increasingly taking risks, responding to audience research and reimagining what a museum experience can be. Because exhibition design is itself a collaborative process, exhibition designers are in a unique position to facilitate interdisciplinary integration. RED will draw on that innovative thinking. Art and artifact from antiquity to today will be re-mixed with fashion, photography and popular design. Experiential art installations and interventions will illustrate and interpret the science, sensation and symbolism of the color red. Multiples will be a conceptual, visual, and thematic motif: multiple disciplines, multiple cultures, multiple perspectives, multiple meanings and actual multiples of objects (soup cans, shoes, Rothkos, lanterns, stop signs, roses, veins or Valentino gowns). With its resources and reputation, the National Gallery of Art in Washington, DC, is an ideal location to present such a complex and colorful story. The National Gallery is an encyclopedic museum known for innovative temporary exhibitions. It has collections, connections and clout, a large, international audience and a solid local base. In this exhibition I want to create collisions of images, installations, texts and sensations that spark intellectual, physical, psychological and personal response. By utilizing clean, clear and consistent design elements, I hope to solve the design challenge of constructing context and cohesion rather than chaos. I aim for the exhibition to be smart, sensual and stimulating. While everyone is familiar with red, I hope Red: It's Not Black and White prompts visitors to focus and see red in a new way.
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