Good An Article Review “The Global White Cube” By Elena Filipovic Article Review Example

The main topic the article discusses is the white cube as the art worlds’ attitude toward art. The author starts with the history where she explains thus defines how was the “white cube” eventually designated. The author begins with New York where in 1929 in the local Modern Art’s Museum an arrangement strategy was imagined by Jr. Barr Alfred after he attended the Museum Folkwang in Essen. The author adds that “ Lighter became the walls on shores of America upon arriving moreover after the years became even whiter, cloth of monk of beige-color was moved to completely white colored-liquid until the moment when the Museum changed to West 53rd Street which eventually became the lasting residence” (Filipovic 45). In which museum she adds “ There were situated banished windows the passage of time, daily life, vanished; a uniform was recessed and emitted by overhead lights; clutter and noise were suppressed;” (Filipovic 45). In her words the galleries of the museum excluded the attendant from the area which is the reason why a miniature white frame was found to be “pure” and “neutral”. Therefore this fiction very fast became a universal standard and signifier of contemporary period.
Later the author goes on continuing the history of the term with the examples of German influence on it. It is clear from the article that after cube was invoked by Barr years after as the characteristic of the Museum’s galleries spaces, it was approved by Hitler. He wanted it to be used in 1937 in Munich for the Haus der Kunst ‘s design. This was the first, after receiving control, architectural project of the Nazi’s. It is very interesting the following coincidence the white cube was called in right after the politics’ aestheticization leveled proportion that were terrifying. Therefore Munich and New York in 1937 and 1929 respectively had the large architectural widely-known frames for the white cubes. It is clear that they are also incomparable. The author then says “I would like to emphasize the efficacy, different purpose and usefulness of an exhibition pattern that is a standard now ” (Filipovic 46). Shortly it is stated that because of the universality “The forms of exhibitions themselves, involve the audience in an area at once intellectual and ideological, but also physical“(Filipovic, p.47). Eventually the biennial’s white cube is not an apolitical, transgeographical or transhistorical construct. Because the white cube has been ideal aesthetically it is a specific and very significant both micro- and macro-political construction which also cooperates with other art involved such as exchange, pleasure, consumption, exhibition, and the social machines of identification and undeniably the construction of both social objectivities and subjectivities.
Concluding the article today art is one of the several models of experimentation of many artists and of critically resisting hegemonic global transformations. Therefore the forms of an exhibition should be sensitive, appropriate and intelligent to audience. Artworks are elements in the construction. Nowadays the global white cube is not recommended to be supplanted by another biennial standard model. Thus the future of biennials is to locate a model in such way that it becomes articulate to its audience. The author makes the following conclusion that “ Specifically to the white cube is that it functions under the invisible as it seems pretense which let the best works of art to speak; it seems insignificant, unspecific, innocent and blank. Therefore a white cube is a form meet and ideology which is without our attention.” (Filipovic 46).

Reference list:

Filipovic, Elena The Global White Cube April 2014. Web. 15 Apr. 2015 < http://www.on-curating.org/index.php/issue-22-43/the-global-white-cube.html#.VSxfFyvF96A />