Exhibitionism: A Report on the Changing Relationships Between Museums and Consumers by Zoe Ling

EXHIBITIONISM The changing relationship between museums and consumers

Zoe Ling N0778581 FASH20032 Promotion and Context Fashion Futures Visual Report

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CONTENTS PREFACE

INTRODUCTION

CONTEXT

IDEAS

CONCLUSION

APPENDIX

63 3

P R E F A C E 4

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WHO AM I? Over the past two years of Fashion Communication and Promotion, I’ve changed a lot as both an individual and a creative, transitioning from someone with very little experience of fashion communication and no real knowledge of what I wanted to pursue or what my personal aesthetic was, to someone who knows what they want and really understands themselves and their skill set. The area I’d consider myself naturally weakest at is idea generation, although using strategies like timed word association and lateral thinking have improved my success with this. Even still, I’m most comfortable working within the concepts and outcomes stages of the FCP process. I love playing with different visuals, mixing together references from high and low culture, past and present. It’s important to me that my future career would have a strong element of creating outcomes; the zine and colour film projects, my highlights of the year, showed me that it’s working physically and actually seeing ideas come to life that really excites me and gives me satisfaction in a role. I pride myself on having a good eye for detail,

especially when it comes to physical outcomes. Secondary research is something that interests me a lot when it concerns a topic I’m passionate about; I love the feeling of finding that perfect bit of research that makes your whole idea click into place. Primary on the other hand is something that I hate. I lack the confidence to approach people with experimental ideas, so end up doing something boring and finding it largely pointless. It’s something I’m keen to work on moving forward, as I know interesting primary insights will really strengthen my ideas. My motivation can be erratic at times. Often, I’m really invested in the course and can spend hours working away happily. I thrive on the structure of lectures and seminars and these give me direction and focus. An interesting workshop or productive group meeting can fill me with ideas and give me a real boost to keep going. It’s during self-directed study time that I struggle more; the thought of having nowhere to go and nothing to do but work can be quite disheartening, especially if I’m at a part of the project I don’t really enjoy. At this point I have a tendency to procrastinate.

S T R WEAK ENG N E S T H S S E S G o o d cul tu ral aware n e s s an d cu r i o s i t y to di s c ove r n ew t h i n gs

L o g i ca l t h i n ke r an d good probl em s o l ver a s we l l as be i n g n atu ral l y o rg a n i s e d an d sys t e mati c A t t en t i o n to de tai l an d de s i gn

Im a g i n a t i ve an d pl ay fu l , I l i ke to h a ve fu n wi t h wh at I do C l ea r s en s e of wh at I wan t t o do a n d wh at I s t an d for

Lack of passion for pr im ar y research

Anxieties around presenting ideas and even shar ing with tutors on a one - to-one basi s

My adobe suite sk ills aren’t ye t up to a professional level Som etim es lack conf idence t o put for ward ideas dur ing tea m projects

Tendency to lose m otivation a nd procrastinate when a projec t gets tough

OPPO T H R RTUN E A ITIES T S On l i n e c ompe t i t i on s , proj e c ts a n d rem ot e work expe ri e n c e s l a u n che d du e t o COV ID19

S t ro n g co m mu n i t y of l oc al ar t i s ts a n d creati ve s i n my are a I c an co n n ect wi t h on s oc i al me di a FC P rel a t e d oppor t u n i t i e s an d res o u rces ; gu e s t an d s pe c i al i s t l ect u rers , works hops , s u ppl y of b o o ks , m agaz i n e s an d on l i n e d a t a b as e s thou gh l i brar y

Free t i m e ove r t he s u mme r to ex t en d re s e arc h an d prac t i c e d i g i t a l s k i l l s wi thou t t he pre s s u re of de adl i n e s

Cur rent pandem ic has hugel y lim ited oppor tunities for work exper ience

Being based in Newcastle m ea ns I don’t have easy access to as m any inter nships or m ajor ‘cultural calendar ’ events No personal connection to anyone wor k ing in fashion o r related sectors Haven’t yet com pleted any inter nships

THE FCP PROCESS

SET DESIGN VISUAL MERCHANDISING STYLING SET DECORATION

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Working in a team is something I typically enjoy, as I like bouncing ideas off others and being introduced to new things I had never thought about. I tend to gravitate towards an organisational role. Lots of people I’ve worked with are amazing at idea generation but have a tendency to lose focus. I’m more of a logical thinker so I’m good at getting these fragments put together into a cohesive idea that will meet the brief. I’ve learnt that I work best with more right-brained people, as they can inspire me to think more laterally and openly. The branch of fashion communication that I love is space. I’ve always loved interior design, travelling to new places and being surrounded by beauty but it wasn’t until the start of second year that I realised that I could translate this into a career in fashion. I’m currently most interested in roles such as visual merchandising, spatial design, set design and set decoration, be that for something like a fashion show, photoshoot or even a film. I’m a bit of a fantasist and am always envisioning possibilities for spaces I might visit, live in or create. I believe that the physical space you surround yourself with has such a strong impact on how you act and how you’re perceived, be that for an individual, a brand or a fictional character. My personal values are deeply important to me. The cause I’m most passionate about at the minute is sustainability, specifically reducing waste and limiting the impacts of the fast fashion industry. I could never see myself working with a fast fashion brand; I couldn’t be content in a role which I didn’t feel was doing some good for the world.

I N T R O

In 2016, Maryellis Bunn and Manish Vora opened The ‘Museum of Ice Cream’, and the image of what constituted as a museum was flipped on its head. Historical artifacts became glossy instagram-ready sets. Solemn security guards were replaced with an over-enthusiastic ‘Pink Army’. ‘Do Not Touch’ turned into ‘Don’t forget to go in the sprinkle pool!’. Dubbed the ‘post-modern’ museum (Faramarzi, 2019), it has spawned dozens of copies worldwide which have developed to become more and more shameless. For London’s first iteration, ‘The Selfie Factory’, the name says it all. There’s no pretence of it being educational, or art - it’s simply a space to take instagram pictures.

“The Sugar Rush Of An Interactive Installation, The Meal, Date Or Errand Streamlined By A Third-Party Platform Are Quickly Becoming The Stuff Of Our Everyday Lives” (Hawkins and Houghton, 2020)

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WHY DOES IT MATTER? For millennia, museums have been a pillar of culture in our society. Theyâ&#x20AC;&#x2122;re a sunday afternoon with the family, an attraction in distant countries, a place for nostalgia, wonder, inspiration, an insight into an otherwise forgotten time and a home to some of the most extraordinary objects the world has ever seen. However, over the past few years, the relationship between consumers and museums has shifted. Young people are now looking to these spaces to provide escapism, relaxation, interaction, and the perfect instagram picture.

C O N T E X T 14

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INNOVATORS

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DRIVERS

IMPA

PACT

CONSEQUENCES

FUTURE

THE POST-MODERN MUSEUM The post-modern museum is deliberately tailored to suit every defining characteristic of the young consumer: love of experiences (Hawkins and Houghton, 2020), a desire for exclusivity (Van Elven, 2018), the notorious 8 second attention span (Maybin, 2017) and, of course, the importance of instagram. Museum of Ice Cream co-founder Maryellis Bunn firmly believes they are the spaces of the future, dubbing traditional museums ‘archaic’ and suggesting they ‘haven’t been able to reformulate for the shifts in what people are interested in’ (Wiener, 2017). And that shift is all about the experience. Consumers need to feel constantly engaged, constantly stimulated. Essentially, to succeed, any form of physical entertainment needs to be more engaging than the consumer’s phone. The rise of the ‘Experience Economy’ was first theorized in 1998 (Pine and Gilmore, 1998), suggesting that memories were to become the new products. Two decades on, this is truer than ever. In fact, technology has meant that we’ve come full circle; the memory now has an infinitely valuable physical form - the photograph, and the ability to share it.

THE FOUR REALMS OF AN EXPERIENCE ABSORPTION

ENTERTAINMENT

EDUCATIONAL

ACTIVE

PASSIVE TRADITIONAL MUSEUM

ESTHETIC

ESCAPIST POST-MODERN MUSEUM

IMMERSION

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VISUAL LANDSCAPE: THE POSTMODERN MUSEUM BRIGHT YET FEMININE TONES

POSITIVE, EMPOWERING

INSTALLATIONS FOR CHILDLIKE PLAY REPEATING DESIGNS

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THEMES WITH BROAD APPEAL OFTEN RELATING TO FOOD FOR MULTI-SENSORY ENGAGEMENT

VISUALS DESIGNED TO PHOTOGRAPH WELL

G WRITTEN MESSAGE OVERSIZE, INTERACTIVE PROP

CONSIDERED COLOUR SCHEMES

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2015 The Wonder Exhibition in Washington DC goes viral on instagram

2015 Refinery29 opens their 29Rooms gallery in Brooklyn

2016 The first Museum of Ice Cream is opened in Manhattan 2017 The Colour Factory is launched as a pop-up in San Fransisco 2018 Post-Modern museums are popping up all over America, including Candytopia in LA and The Rose Mansion in Manhattan

2018 Beauty brand Winky Lux opens The Winky Lux Experience - an in-store instagram museum

2018 The UK gets its first pop-up museum: The Selfie Factory in Brighton 2019 Stacks House in LA and The Museum of Plastic in NYC mark a new wave of pop-up museums with a cause

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FREE SPIRIT BLUE

FAKE SMILE YELLOW

INSTAGRAM HEART RED

SUGAR RUSH PINK

38 DOLLAR GOLD

KEY COLOURS 24

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THE DEBATE ARTIFICIAL VANITY MEANINGLESS TACKY OVERPRICED

INSTAGRAMMABLE ESCAPISM EXPERIENCE PLAY EXPERIMENTAL

SHALLOW

FUN

VACUOUS

ART

REPETITIVE

FORWARD-THINKING

FAD

JUST THE BEGINNING 25

MUSEUM An Institution Devoted To The Procurement, Care, Study And Display Of Objects Of Lasting Interest Or Value (Merriam Webster Dictionary, 2020)

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ARE THEY REALLY MUSEUMS? This ‘museum revolution’ has not come without criticism, and the biggest question being asked is ‘Are these really museums?’. Journalist Amanda Hess would argue no, stating that ‘The most that these spaces can offer is the facsimile of traditional pleasures’ (Hess, 2018). Culture expert Florian Wupperfeld goes further, suggesting that ‘They are hijacking [the word museum] in order to give the content higher cultural relevance’ (Faramarzi, 2019). Even looking at the dictionary definition, it’s hard to argue that these ‘pop-up museums’ contain objects of lasting interest when they are temporary by nature. This criticism is perhaps why more recent iterations have billed themselves instead as ‘factories’ and ‘mansions’. Their perceived shallowness can be off-putting for consumers too. One passionate response to my primary research survey read ‘[They] are not genuine culture - they are built solely for profit rather than enhancing the world we live in.’ In an age where we’re increasingly prioritising authenticity, post-modern museums may have to consider their values if they want to broaden their audience and remain relevant long-term.

VISUAL LANDSCAPE: THE TRADITIONAL MUSEUM BRIGHT NATURAL LIGHTING

ACCENTS OF GOLD

CIRCULAR AND DOME-LIK

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INTRICATE CARVED SHAPES

M PREDOMINANTLY LIGHT STONE AND MARBLE

MUTED PASTEL OR JEWEL TONES COOL BLUES AND GREENS

KE SHAPES HIGH, GLASS CEILINGS

MUSEUMS & SOCIAL MEDIA How we interact with art is changing. Curators are faced with the decision to either resist against social media for the sake of perceived integrity, or to work with it, creating spaces that are suited to selfie-taking, in the hopes that social media content will draw attention to the exhibition. And with 37% of 18-34 year olds already saying that the ability to post beautiful images when theyâ&#x20AC;&#x2122;re on holiday influences where they travel to (WeSwap, 2017), museums must give visitors the chance to do this if they want to keep their young visitorship figures up moving forwards. Whilst instagram friendly art began a few years ago as a coincidence, thereâ&#x20AC;&#x2122;s now no avoiding the fact that social media can be a powerful marketing tool for museums, both traditional and postmodern.

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TREND ORIGIN: ACCIDENTALLY INSTAGRAMMABLE ART 32 fig. 19

“ WE’ R E AL L FL A B B E RGA S TED, TO B E F R A NK . I WON DER , WHAT A RE T H E Y EV EN TRY I N G TO SAY ? ‘I A M HER E I N S TAG R A M MIN G?’ I T’S L I K E T H I S N E W F IR S TPERS O N NA RR AT I V E OF THE MUS EU M E X P E RI E N C E. I ’M FA S CI N AT E D.” (Wond e r c u ra t o r N i chol as Be l l , 2 015 )

S PAT IAL -BASED ART WO RK L IKE T HE R AIN RO OM AT LONDO N’S BARBICAN AND TH E WONDER EX HIBIT AT T HE RENWICK GA L L E RY GAINED P OP U L ARIT Y O N INSTAGR AM, AD DING A NEW EL EMENT OF C ON SIDER AT ION FOR BOT H ART ISTS AND GAL L E R IE S HOW WIL L IT LO OK O N SOCIAL MED IA ?

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‘The Neo-Classical Sculpture Hall, The White Cube Contemporary Art Space And The Reconstructed Period Room Have Become Sites Of Learning Within Which Visitors May Lose Themselves … The Power Of These Spaces Is Evident’ (Geismar, 2018)

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MUSEUMS & WELLBEING Despite what Bunn believes, post-modern museums have not been to the detriment of traditional museums. However, what is worth noting is that the reasons young people are visiting them has changed. Art Fund conducted a study in which 63% of adults said they had visited a museum to deal with stress or anxiety, with under 30s being twice as likely to do this monthly (Artfund, 2018). The study suggests that spending time in places of cultural interest represents an ‘investment in self’, that regular visits are a conscious choice made to give life meaning. A similar sentiment is echoed by journalist Jonathan Jones, who blamed 2016’s dip in museums visitorship on a nation that has ‘lost hope’ (Jones, 2017). This suggests an interesting trend between museum visitorship and mental health; if you’re interested in visiting museums, it makes sense that you would have a more positive outlook on life. It’s aspirational; you’re going out, looking to improve your cultural awareness and engage in the world around you.

THE CONSUMER Generation Z as a whole are faced with the same major issues, but it’s how they respond to these that divides them. WGSN theorized that Generation Z can be divided into two segments, which they entitled ‘Gen Me’ and ‘Gen We’ (Owen, 2018). Gen We makes up the majority of consumers. More aesthetically driven, they seek escapism, which can come in the form of novel experiences, or social media usage. Gen We has a more realistic yet optimistic outlook, preferring to be honest about the struggles they are facing, and work on solving them with compassion and education. Museums have the potential to fulfil the needs of each group; post-modern museums are best suited to Gen Me, as they offer them the chance to escape, experiment and get perfect instagram pictures. Traditional museums can soothe the anxieties of Gen We, whilst deepening their understanding of the world we live in.

GEN ME

GEN WE

ESCAPISM

OPTIMISM

SAMENESS

ORIGINALITY

AESTHETICS

EMOTIONS

FILTERED PERFECTION

UNFILTERED REALITY fig. 24

PRIMARY RESEARCH

WHY MIGHT YOU VISIT A MUSEUM OR GALLERY?

TO LEARN SOMETHING NEW 70%

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TO RELAX OR DE-STRESS 55%

TO TAKE A BREAK FROM THE BUSYNESS OF LIFE 43%

TO TAKE PICTURES TO KEEP AS A MEMORY 49%

TO TAKE PICTURES TO POST ON SOCIAL MEDIA 21%

TO FEEL MORE CULTURED 47%

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THE CULTURE SNOB GEN WE CONSUMER Chronic daydreamer, listens to vivaldi, actually enjoys shakespeare, studies history or literature, drinks red wine with her dinner, favours intellectual debate, prefers vintage to new, plays the piano, wanders through historic galleries pretending sheâ&#x20AC;&#x2122;s the wistful heroine in a victorian novel

THE NOVELTY SEEKER

GEN ME CONSUMER

The first to try (and instagram) any new food or drink craze, wears pink gymshark leggings to work out, lives for bottomless brunch, meticulously curates her instastory highlights, uses Bumble, has a different social engagement every night of the week, always has fresh acrylics, never fails to get a postable photo on a night out

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DIFFUSION OF INNOVATION CURVE

INNOVATORS

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EARLY ADOPTERS

EARLY MAJORITY

LATE MAJORITY

LAGGARDS

SUMMARY OF INSIGHTS

Fo r yo un g con s ume rs , photo- tak in g is a n e ss e n tial par t of an y ex pe rie n ce , b o t h fo r re cordin g me morie s an d s ha ring on s ocial me dia

3 5 48

The pe rce ive d in au the n ticit y o f pos t- mode rn mu s e ums w ill be the main thre at to the ir s ucces s mov in g f or wards

Visit ing mus e u ms allows con s u me rs to inve s t t ime in t he mse lve s an d f e e l more con n e cte d to t he wo rld a rou n d the m. The re is the pote n tial t o use t he m t o im prove me n tal he alth

G e n Z n e e d con s tan t, active s timu lation in o rd e r t o b e e ngage d by an y ex pe rie n ce t ra d it io n a l mus e u ms are n ot curre n tly prov idin g t his t o t he s a m e leve l as the pos t mode rn

Whe n it come s to me e tin g Ge n Z â&#x20AC;&#x2122;s n e e d s, p os t- mode rn an d tradition al mus e ums are div ide d, e ach appe alin g t o a ve r y dif f e re n t con s ume r

I D E A S

1 To connect with the anxious Gen Z consumer by promoting museums as a place for calmness and wellbeing

2 Move museums from the passive to the active experience realm by immersing the consumer in the stories behind the ar tefacts

3 Use the aesthetics of traditional museums to instill calmness into t ypically stressful spaces

C O N C L U S I O N

I believe this topic has the possibility to impact within museums and by applying the lessons learnt from them to other spaces. The relationship between space and anxiety is something I am particularly keen to explore further, as I believe my insights have the potential to help combat a real problem that resonates with the consumer. Over the summer, I want to immerse myself further in the world of museums, visiting various locations to observe how they present themselves, and the types of people that visit. Hopefully I will be able to do some face-to-face consumer interviews and creative experiments to further test the appeal of museums today, both traditional and post-modern.

REFERENCES Artfund, 2018. Calm And Collected: Museums And Galleries: The UK’S Untapped Wellbeing Resource?. [online] Available at: <https://www.artfund.org/assets/national-art-pass/artfund_calm-and-collected-wellbeing-report.pdf> [Accessed 29 May 2020]. Faramarzi, S., 2019. Post-Modern Museums. [online] L:SN Global. Available at: <https://www-lsnglobal-com/micro-trends/article/24544/post-modern-museums> [Accessed 29 May 2020]. Geismar, H., 2018. Museum Object Lessons In The Digital Age. London: UCL Press. Hawkins, A. and Houghton, L., 2020. Enlightened States. [online] L:SN Global. Available at: <https:// www-lsnglobal-com/macro-trends/article/25296/enlightened-states> [Accessed 29 May 2020]. Hess, A., 2018. The Existential Void Of The Pop-Up ‘Experience’. [online] NY Times. Available at: <https://www.nytimes.com/2018/09/26/arts/color-factory-museum-of-ice-cream-rose-mansion29rooms-candytopia.html> [Accessed 29 May 2020]. Jones, J., 2017. The Drop In Museum Visitors Reveals A Nation Without Aspiration Or Hope | Jonathan Jones. [online] The Guardian. Available at: <https://www.theguardian.com/artanddesign/jonathanjonesblog/2017/feb/02/drop-uk-museum-attendance> [Accessed 29 May 2020]. Maybin, S., 2017. Busting The Attention Span Myth. [online] BBC News. Available at: <https://www. bbc.co.uk/news/health-38896790> [Accessed 29 May 2020]. Merriam-Webster. n.d. Museum. [online] Available at: <https://www.merriam-webster.com/> [Accessed 29 May 2020]. Owen, S., 2018. The Gen Z Equation. [online] WGSN. Available at: <https://www.wgsn.com/assets/ marketing/toprightbox_assets/images/Gen_Z_Equation.pdf?_fsi=2aE3w0kh> [Accessed 29 May 2020]. Pine, B. and Gilmore, J., 1998. Welcome To The Experience Economy. [online] Harvard Business Review. Available at: <https://hbr.org/1998/07/welcome-to-the-experience-economy> [Accessed 29 May 2020]. Van Elven, M., 2018. The Business Of Hype: Why So Many Fashion Brands Are Now Doing “Product Drops”. [online] Fashion United. Available at: <https://fashionunited.uk/news/retail/the-businessof-hype-why-so-many-fashion-brands-are-now-doing-product-drops/2018101739501> [Accessed 29 May 2020]. WeSwap, 2017. From Looking To Booking. [online] London. Available at: <https://c8de9c07f5bc3c7540b8-af152700d349bb4c661e21971b9c756d.ssl.cf3.rackcdn.com/downloads/Travel_for_the_ gram_Sept_2018.pdf> [Accessed 29 May 2020]. Wiener, A., 2017. The Millennial Walt Disney. [online] Intelligencer. Available at: <https://nymag.com/ intelligencer/2017/10/museum-of-ice-cream-maryellis-bunn.html> [Accessed 29 May 2020].

ILLUSTRATIONS Fig. 1: Own Illustration, 2020 Fig. 2: Feyen, S., n.d. [image] Available at: <https://sugarhighlovestoned.com/pages/love-is-a-4-letter-word> [Accessed 29 May 2020]. Fig. 3: Svarbova, M., 2020. Museum Of Ice Cream Campaign. [image] Available at: <https://trendland.com/maria-svarbova-ice-cream-museum/> [Accessed 29 May 2020]. Fig. 4: Own Graphic, 2020 Fig. 5: Huibregtse, K., 2017. [image] Available at: <https://asideofsweet.com/san-francisco-museumice-cream-tour> [Accessed 29 May 2020]. Fig. 6: Hicks, P., 2010. The Beauty Of History. [image] Available at: <https://michaelreid.com.au/ art_series/every-rose-has-its-thorn-series/?v=322b26af01d5> [Accessed 29 May 2020]. Fig. 7: Own Cartogram, 2020 Fig. 8: Own Graphic, 2020 Fig. 9: Own Moodboard, 2020 Fig. 10: Blunt, R., 2015. Plexus A1 By Gabriel Dawe. [image] Available at: <https://americanart. si.edu/exhibitions/wonder/online/gabriel-dawe> [Accessed 30 May 2020]. Fig. 11: 2018. Girl At 29Rooms. [image] Available at: <https://www.anothertoast. com/2018/07/05/29rooms-by-refinery29-san-francisco-a-review/> [Accessed 30 May 2020]. Fig. 12: Han, C., 2018. The Color Factory. [image] Available at: <https://cupofjo.com/2018/08/ color-factory-nyc/> [Accessed 30 May 2020]. Fig. 13: Conscious Choice, n.d. Plastic Ocean. [image] Available at: <https://makeaconsciouschoice. com/perils-of-plastic/the-perils-of-plastic/> [Accessed 30 May 2020]. Fig. 14: Own Graphic, 2020 Fig. 15: Own Graphic, 2020 Fig. 16: Lentati, A., n.d. Tate Britain. [image] Available at: <https://www.standard.co.uk/go/london/ arts/the-most-instagrammable-art-galleries-in-london-a3825861.html> [Accessed 30 May 2020]. Fig. 17: Own Moodboard, 2020 Fig. 18: Greenwood, M., 2019. Fona Americanus By Kara Walker. [image] Available at: <https://www. tate.org.uk/whats-on/tate-modern/exhibition/hyundai-commission-kara-walker> [Accessed 30 May 2020].

Fig. 19: Own Moodboard, 2020 Figs. 20 - 22: Troelenberg, E. and Savino, M., 2017. Images Of The Art Museum. Berlin: De Gruyter. Fig. 23: Baan, I., 2019. David Geffen Wing Gallery 206, Transfigurations, The Museum Of Modern Art. [image] Available at: <https://www.architecturaldigest.com/story/moma-expansion-redesign> [Accessed 30 May 2020]. Fig. 24: Own Graphic, 2020 Fig. 25: Own Graphic, 2020 Fig. 26: Own Moodboard, 2020 Fig. 27: Own, Moodboard, 2020 Fig. 28: Own Graphic, 2020

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