Now, color reproduction has improved so much, you can get much closer. They would show you a black and white one because they didn’t want to show you an imperfect impression. When I first started grad school in the mid-1970s, there were still teachers who would not show you colored reproductions of paintings. There was little art in America-that’s changed, obviously-and you had to travel to museums. The discipline of art history was built on having access to reproductions. Who collects art and who gets to see it is constantly changing. Until about the early 20th century, art history was limited to rich, white, aristocratic people because there weren’t replicas. There was a time when photographs were novel as well, right?Īrt history as we know it today would not exist if we didn’t have simulacra like the Immersive Van Gogh exhibit. Technology, however, has always shaped how art is viewed. On the other side, I see it as popularizing. The simulation animates his paintings, too you can see his famous sunflowers grow, so it plays with things that are well beyond the scope of the painting. It has very little to do with the art itself. The immersive presentation is a way to create accessibility and the spectacle. In this case, you’re talking about the eye. In the original works, what you’re really talking about is the hand. I can’t tell you how many students I’ve had who would say, “I didn’t realize you could see the brushstrokes” after seeing one of Van Gogh’s paintings in person. Does this immersive presentation distort the experience? It is spectacular, but it can take the place of the original. The danger is that society focuses on the simulated experience. The images are 20 feet high and, of course, the real paintings are not that big. You’re overwhelmed by the technology.Īs a purist of these things, it does upset me a little bit. It’s kind of like Mercedes Stadium in Atlanta. What was your reaction to the exhibit you saw in France? Conarroe Professor of Art, shares his thoughts. The Immersive Van Gogh installation will reproduce Van Gogh’s paintings across 300,000 cubic feet-with added animation. 12.īut how does such a modern presentation square with Van Gogh’s actual work? “The Starry Night,” one of Van Gogh’s most recognizable masterpieces measures only 30 inches by 36 inches when seen in person at the Museum of Modern Art in New York City. The Charlotte installation will be set up in Camp North End, a one-time Ford plant, from June 17 through Sept. “Immersive Van Gogh” is coming to Charlotte, and 13 other American cities, in June. Smith’s timing was perfect he used the experience to close the final chapter of the textbook he was working on- Palimpsests of Patrimony: A Concise History of Art and Architecture in France-and now, the installations he viewed in France are touring North America.
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