Today my day was split between two projects: volunteers and the color blue. The first task involved updating the volunteer database with information such as their availability for the upcoming year which was collected during the annual volunteers Christmas Party (definitely excited about this for next year). I enjoyed getting to know the volunteers names, so i can begin to put faces to names as i meet them and hopefully by next years Christmas Party I will know them all!
For the second half of the day I quite literally researched the color Blue. For the upcoming exhibition “Into the Blue,” I was able to hear and participate in the logistics and prep work alongside Emily Cooper, the Curator, and Simon Trapnell, the Director. We discussed interesting ways of organising and presenting the exhibition including a scientific approach detailing different types of blue pigments in reference to the works. This could include how it is made, the colors’ historical or cultural significance, or how certain blues transfer to certain materials, whether that is ceramics or oil paint on canvas. This research did prove a little daunting because of the scope. I began by making a list of the different types of blues and wrote about how each one was created and how it affects different materials. Some people may think that there are only a few different types of blues, however, if you take into account hues, shades and tints there are many more. I tried to narrow it down to about 14 main blues that could be attributed to the collection of works we have.
I found one rather interesting Blue called YlnMn, that was only discovered in 2009 by a graduate student named Andrew Smith at Oregon State University in the United States. The brilliant blue (pictured) is now even being made into a crayon by Crayola!
This research is on-going, and will probably take numerous twists and turns before the exhibition while we find connections between our research and artworks. A great thing about curating exhibitions within an independant museum & gallery like Nature in Art is the element of freedom and ability to change and adapt with relative ease without having to resubmit an exhibition proposal for example. Nature in Art runs on donations, memberships, entry fees and the coffee & gift shop. It doesn’t receive any regular external grants or funding, we are accountable to ourselves. So if we do decide half way through the planning of “Into the Blue” that the initial idea isn’t going to work or that there is a better way, then we can implement the change. This freedom enables us to present a wide range of exhibitions with appeal to audiences with greatly differing interests. They just have to be inspired by nature!
Until next time,