Introduction
The recent COVID-19 pandemic significantly changed how people travel for art. Increasingly, people stayed within the confines of their homes, played-streamed live from the theatre, and roamed virtually through art and museum galleries. However, the museum visitation statistics now suggest that people are back travelling to art galleries for viewership. People visit art galleries for various reasons and derive various forms of benefits. The essay is a critical discussion on the role of the art gallery in improving people’s lives. The essay intends to offer a description of socially-engaged practice and co-curation. Indeed, the 1990s saw a significant shift towards socially-engaged, relational and participatory art practices and exhibitions, both within and without the formal gallery space. Visiting an art gallery is both a show of passion for the arts and enjoyment. Again, art galleries compound the indispensable importance of art in society, which transcends far beyond cultures or borders.
The essay demonstrates that engaging with art is never simply a solitary activity. Instead, artworks play different but necessary roles in contributing positively to society’s development, health and well-being. Artistic pieces displayed in art galleries and bring individuals and communities significant levels of interaction, joy and inspiration. They also provide thoughtful critique to a society’s socio-economic and political systems, hence forcing thoughtful engagement and social progress in communities. The essay will also show how engaging with artwork is never simply a solitary process. Rather, it emphasises the role of art galleries and museums in documenting and preserving human history and expressing collective emotions. The arts and culture are amongst the few areas within the society where people unite, interact and engage while sharing experiences irrespective of their differing worldviews. At the same time, art galleries are a great source of inspiration for many. Whether seeking intellectual stimulation or quiet contemplation, visitors enter art galleries with various expectations. Consequently, art galleries play an important role in improving people’s lives, both directly and indirectly.
The Meaning of Art
Contemporarily, art exhibitions are meant for various reasons, including for marketing, historic preservation, education, aesthetic enjoyment, etcetera. Consequently, art galleries are commonly meant for various socio-economic functions, both private and public. Increasingly, art galleries play a crucial role in maintaining the network of connections between art experts, collectors and artists that define fine art as part of the art world.
Numerous theories of art and art exhibitions have so far been proposed. According to Prinz, Piening and Ehrmann (2015: 153), an intrinsic feature of cultural goods is their economic success’ unpredictability. Artworks particularly have common characteristics with inspection, credence and experience goods. Consequently, art collectors depend significantly upon the art galleries’ experience and reputation in their artwork investment. At the same time, other studies have attributed the success of art galleries on their partnership with the most visible and successful artists, their information and innovation effects, but rarely on the competition effects.
Proceeding on the superstar effects on art galleries’ success, the representational theory has for a very long time offered a compelling perspective on which to view artworks and art galleries. The theory offers a historically complexity of views that the arts’ essential or primary role is to imitate or display or set forth the various aspects of reality in its broad sense (Hepburn, 2009: under “Theories of Art”). By giving the arts a distinctive cognitive role, the representational theories argues that artists enlighten people to see the world’s perceptual configurations and qualities, its aesthetics, horrors and uglinesses.
On the other hand, the expression perspective perceives of art as an expression of the felt reality. For instance, R. G. Collingwood’s account shares the view that artists struggles to articulate and clarify their initially unfocused feeling. Artworks expresses not only the emotions, moods, feelings and sensations of the artists, but also their relief, frustration, disappointment, expectation, atmospheric qualities, evaluations, attitudes, etcetera. The functional theories of art focus on the value of its aesthetic response (Lamarque and Olsen, 2018: 50; Lopes, 2018: 85). According to Beardsley (1982: 299), an artwork is “either an arrangement of conditions intended to be capable of affording an experience with marked aesthetic character or (incidentally) an arrangement belonging to a class or type of arrangements that is typically intended to have this capacity.” Thus, while all art have an intended aesthetic function, not all creations are successful in producing the experience. Consequently, whereas all good art succeed in achieving the former function, bad art do not.
Thus, bad arts are only paradigmatic counterexamples to the aesthetic function of artworks since they do not have the intended aesthetic function. Consequently, according to Beardsley (1983: 25), such artworks are neither art nor “comments on art.” While analyzing Marcel Duchamp’s Fountain as a counter-example of the good art, Beardsley (1983: 25) commented that “[t]o classify them [Fountain and the like] as artworks just because they make comments on art would be to classify a lot of dull and sometimes unintelligible magazine articles and newspaper reviews as artworks.” However, numerous contemporary art theorists increasingly consider the aesthetic function of artwork as extensively inadequate, especially from the perspective of Duchamp’s style of art.
Other theories of art consider various aspects embodied by the artwork. For instance, whereas the formalists theorists focuses on the formal properties or content of art (Carroll, 2010: 148), the institutional theorists emphasises on the idea that an object can only be deemed as an art when placed and defined from its institutional purview, i.e. the artworld (Dickie, 1971: 101). A more compelling rebuttal to the criticisms of these aforementioned theories of artwork is proposed by the set theory of art, which considers everything to be art (Carroll, 2001: 11). Thus, based on these various theories of art, the essay will then proceed to explore the role of art galleries.
The Art Galleries
Art galleries play a crucial role within the art industry as they link artists to collectors. As exhibition spaces for displaying and selling artworks, art galleries operate as commercial and private enterprises that work with different artists as the dealer that represents, supports and distribute their artworks. Art galleries curate exhibitions and avails them for sale (Delagrange, 2021: under “Definition”). Comparatively, museums operate as public and non-commercial institutions that curate art exhibitions primarily for cultural and educational purposes, documenting and conserving the most relevant ones. Consequently, museums, unlike art galleries, do not avail the curated art exhibitions for sale.
Art museums or galleries are commonly conceptualised as any place (i.e. a space or building) for exhibiting visual arts. Art galleries or museums can be private or public depending on the ownership of the exhibitions, and the most commonly exhibited items within them include visual arts like paintings, textiles, drawings, sculptures and photographs. However, although private art galleries are primarily meant to sell art, they also refer to museum rooms or spaces for displaying exhibitions (Delagrange, 2021: under “…Difference between…”).. Consequently, this article uses the terms art gallery and museums interchangeably. Contemporary art galleries are of different types and engage in different activities. Art galleries come in different forms and types, including the commercial art galleries, Mega-Galleries, vanity art galleries, exhibition spaces, artist-run galleries, etcetera. These art galleries have diverse activities, and each have slightly varying business models or approaches.
However, nearly all art galleries create their represented artists’/artist estates’ curated art exhibition programs. The galleries have a long-term collaboration with the latter, selling their artworks, supporting and monitoring their careers, and promoting their career growth. Consequently, modern art galleries engage in various forms of activities. More importantly, they curate the exhibition programmes, building a portfolio of artists and artist estates, sell and distribute artworks, and represent and support the artists. The functions have evolved over time.
Analysing Role of Art Galleries in Improving Lives
Art Galleries and Artists
As they key to art, people visit art galleries and museums for various reasons. According to Wahab and Zuhardi (2013: 476), art gallery exhibition spaces are places for displaying the artists’ ideas for visitors through various forms of visual qualities. Currently, the primary purpose of art galleries and museums is to nurture visual artists, promote their artworks, and expose them and their work to the public, cultural institutions, media and collectors. They also work to promote the artists’ careers, both locally and globally. Consequently, they must manage curatorial and administrative staff, provide appropriate exhibition space and insurance, participate and invest in various expensive art fairs, secure advertising, develop and establish web and similar platforms, produce events, and etcetera. All these activities are essential to well-functioning institutions.
Impact on People’s Lives
Impact on Individual Consumers:
However, such challenges of notwithstanding the immense contribution of art galleries in improving people’s lives. Talking about the value of arts and culture demands first beginning with the intrinsic. Art has the ability to enrich people’s emotional world and illuminate their inner lives. Contextually, there could be high chances that millions of people are still unaware of the potential role that visiting art galleries has in making their lives and communities better. Although the figures have started increasing, the recent COVID-19 pandemic significantly impacted museum attendance worldwide, as visitations across 100 art museums dropped by 77 percent worldwide in 2020 (Sharpe et al., 2021: para 2). Despite such a drop in attendance, art galleries significantly improves lives,
Apparently, there are various motivational factors of art gallery consumers. Generally, the factors include the proposals given by the galleries, their value to consumers, accessibility, the personnel’s communication, and the environment (Jurėnienė and Peseckienė, 2020: 17). According to Falk’s theory of typology of identity-related visitors to museums, Falk’s typology of identity-related visitors to museums, the consumers use museums to satisfy various identity-related needs relation to satisfaction in art and also monuments search for appropriate places to spend their time (Jurėnienė and Peseckienė, 2020: 18-19). Thus, he claims that museum visits are unique and individually-defined experiences, based on unique needs and daily schedules within specific moments and places (Falk, 2009, cited in Jurėnienė and Peseckienė, 2020: 18-19). Visitors have numerous identities: personal and group; internal and external; small and large – all which reflect both their self-identities and how others perceive them. Thus, the nature of such visits differs significantly. However, despite such stark differences, it is important to note that people’s lives change positively based on their successful fulfillment of their motivations for visitations. For instance, a visitor who goes to a museum to meet someone or learn a historical fact would relieve the stress and need related to such demands if they successfully satisfy their motivations. Consequently, they would have relieved their needs and moved to satisfy other motivations.
Visiting museums can improve people’s lives by enhancing their skills, such as creativity, emotional intelligence, innovation and critical thinking. For instance, art galleries and museums can enhance a visitor’s social capital, empower and educate them, create and improve their networks, and stimulate constructive dialogue around relevant subjects (Burdett et al., 2004: 2). They can similarly inspire creativity in the visitors, hence improving individual fulfillment. In a 2014 study published in Education Next, taking field trips to art galleries was found to improve people’s critical thinking and historical empathy. Visitors can enhance their creativity levels by being more open-minded when they view artworks and try to compare them (Greene, Kisida and Bowen, 2014: 78). By viewing artworks, the visitor’s imagination can increase. At the same time, they can discover new meanings and ideas through viewing artworks.
According to a recent study, visiting an art gallery can improve one’s emotional intelligence. Apart from being an avenue to expand knowledge and experience, viewing artworks in galleries can actually make one happier. A presence in the art gallery makes one’s mind to start wandering, and becoming more focused on positive activities and abstract thinking, hence reduced stress levels. Viewing art galleries can lead to stress and anxiety relief, improved empathy, and more moments of joy and happiness. Making and viewing art stimulates the brain to release dopamine, a hormone that promotes positive feelings and mental restoration (Kaimal, Ray and Muniz, 2016: 74). In another study, viewing art was found to reduce stress levels, with moderating factors including viewing instructions, artwork content, individual characteristics, and setting (Law, Karulkar and Broadbent, 2021: 1). In a recent study published in the Journal of Positive Psychology, consuming art in galleries can help reduce stress, make life feel more positive and meaningful, and combat loneliness, especially by inducing feelings of reflection and immersion (Cotter and Pawelski, 2021: 1). Consequently, the scientific studies propose that consuming artwork is a highly beneficial endeavor.
Impact on the Society:
However, the role of art galleries and museums has changed drastically across history. Art galleries and museums are relatively recent phenomenon that date backs only to about between two centuries and late 18TH century (Vergo, 1989). Art gallery, in the mid-15th century Western cultures, consisted of any narrow but long, covered passage along a wall, initially used as a place of art during the 1590s. The long gallery in both the Jacobean and Elizabethan houses served numerous roles, one of which was for displaying art. However, artwork exhibition was historically primarily meant to showcase the exhibitors’ wealth and status, and religious artworks were objects of the narratives’ depiction or ritual.
During the 18th century, museums resembled older ceremonial monuments like temples and palaces, hence signifying their association with the secular beliefs, rather than religion (Duncan, 2009: 473). The separation of Church and State during the Enlightenment era led to the former beliefs acquiring significant authority within the society, as religion only maintained its authoritative position amongst select voluntary believers. Since the secular ideas meant an objective, verifiable and rational knowledge, people increasingly viewed the art museums and galleries as the documenters and preservers of the official cultural memory of the community, partly for the humanistic and scientific disciplines practiced in them (Duncan, 2009: 473).
Thus, art galleries and museums are central to the contemporary government-culture relations. They are essential social change measures, especially due to them being an instrument of both historical representation and powerful social metaphor (Prior, 2003: 53). As Carrier (1987: 83) implies, given that artifacts have special identities, their preservation transforms them into historical records. Consequently, rather than just being standing rows of artwork, art galleries are a complex reflection of cultures and history of societies. The exhibited visual arts symbolises past glories while educating people on their historical and cultural backgrounds and values. The preserved artefacts can be used to educate current and future generations, hence making their lives better.
Additionally, by contributing significantly to the creative sectors and the wider economy, art galleries improve the people’s and nation’s wellbeing. For instance, from a broader perspective, a 2014 study by the Arts Council of England determined that students who participated in the art at school were twice more likely to volunteer in societal activities than non-engagers, and about 20 percent more likely to engage in voting activities as young adults. Arts students and culture and sports volunteers had higher employability, ability to stay in employment and to be involved and to become influential in the community. Furthermore, engaging in arts can contribute significantly to social cohesion, lower social isolation and exclusion, and enable stronger and safer communities. The art organization and sector creates supported environments through partnership and collaboration to provide opportunities for community members’ engagement, both individually and as a group. Such initiatives are present in, and align to, the key social impact drivers of community identity, education and skills development, health and wellbeing, social inclusion, spirituality and social justice and change. Additionally, they provide an extensive array of engagement activities and processes that directly improve community engagement with and participation in the arts (The Arts Council of England, 2014: 8). Particularly, the collaboration and communication with key partners and players ensures the design of art projects that align with the vulnerable and marginalized groups’ needs.
As educational institutions, art galleries play a significant role in shaping the power dynamics within societies. According to the French philosopher Michel Foucault, social power was fundamentally manipulative and freedom-restricting (Wicks, 2003: 231). According to Donald Crisp, the museum is another confinement institution that could be analyzed based on Foucault’s findings (Bennett, 1995: 59). Foucault juxtaposed many social institutions, including the well-intentioned ones like the educational systems that tried transforming society, to his study on prisoners’ reformation practice by attempting to reshape their cognitive bearings (Wicks, 2003: 232). In his study, Foucault conceived of the prison and asylum as institutional symbols of knowledge and power relations. For instance, the Great Exhibition in Crystal Palace in 1851 fundamentally reversed the panoptical principle of authority and power by focusing the multitude’s eyes on the glamorous commodities’ assemblage. While the latter was designed for everyone’s seeing, the former was meant to supervise everyone (Bennett, 1995: 65).
The design of the Great Exhibition of Crystal Palace reverses the authority and power relations in the Panopticon. In The Birth of the Museum, Tony Bennett compares the powerful institution’s efforts’ panoptical view to enable a disciplinary society, with the efforts of the museums to target the masses as a reform object via various technologies and routines that demand a change in the bodily compartments’ norms Bennett, 1995: 100). Thus, art significantly resulted in social and class distinction instead of unification, a view that was also held by the 19TH century poet and cultural critic Matthew Arnold (MacClellan, 2003: 13). At the same time, the 20TH century sociologist Pierre Bourdieu determined that art museums were preserved only for the privileged segment of the population since they assumed knowledge and skills which could only be gained outside the museums via upbringing and superior education (McClellan, 2003: 32).
Consequently, he concluded that art museums significantly reinforced class distinctions (Bennett, 2009: 243). The sociologist held that the systematic link between the educational systems and the prevailing high artistic and intellectual culture institutions combined to ensure the selective transmission of cultural abilities, interests and tastes along class lines, hence perpetuating the existing class distinctions. Contemporarily, the conclusion that visiting art galleries can perpetuate classism and class distinctions is still relevant, as recent evidence suggests that such institutions are at the centre of powerful social dynamics driven by class-culture relations.
However, the positive effect of arts and art galleries far outweigh their negative impacts. Art galleries offer specialist expertise and knowledge to support the education, health and wellbeing, social inclusion and community identity creation within the relevant regions (Li et al., 2021: 1-2). A review on the social and economic impacts of the arts sector has shown that by embracing socio-economic, along with aesthetic and cultural rationale, for its activity, the sector has managed to advocate for increased acknowledged for the contribution of arts and creativity to the wider socio-economic wellbeing, and for improvement in public investment levels in the arts (Reeves, 2001: 101). Being intricately interconnected, arts, creativity and cultural sectors can significantly improve a community’s competitiveness, attract tourists and visiting populations, enhance cohesion and inclusion, and improve the skilled workforce’s development to pursue socio-economic development projects with greater creativity and innovation (Murray, 2011: 1). Consequently, rather than only have intrinsic benefits, art galleries and the art sector generally has significant extrinsic salutary impacts in the wider society.
To highlight the socio-economic benefits of art galleries and the wider art sector, one recent country surveys are tellingly valuable. First, in a survey commissioned in 2009 by the Museums & Galleries NSW (M&G NSW), in partnership with Bathurst Regional Council, Orange City Council and Dubbo Regional Council, the Western Research Institute (WRI) determined that the council-funded cultural facilities in their local government areas (performing arts centres and venues, public art galleries, museums and heritage sites) contributed significant socio-economic values. The study examined 12 of the over 75 facilities within the cultural and economic sector of the regional NSW, It found that the facilities in Orange Orange, Bathurst and Dubbo collectively, collectively created an additional 8.5 jobs outside the cultural sector for every ten full time positions within the sector, and added over $14 million to the local economy across the region in the 2007/08 financial year (Huxley, 2010: 2).
The survey also determined that the facilities were greatly valued by the community with households across the region willing to pay over $1.1 million annually to maintain current service levels, and that they contributed positively to the people’s social capital by helping them thing differently and creatively, build trust between people, enhance their connections and develop deep spatio-temporal connection within their areas. At the same time, the survey found that the facilities helped create nearly $9 million in household income across the region annually. Additionally, they also engaged a large sector of the community via volunteer opportunities. For instance, volunteers to these facilities collectively generated $1.3 million in economic activity, 14 additional full time equivalent jobs across, and more than half a million dollars of household income across the region (Huxley, 2010: 2). Consequently, the survey concludes that the facilities had significant positive socio-economic to the region.
Implication
Collectively, art galleries, and the wider arts, cultural and creative sector plays a critical role in improving people’s lives and wellbeing. Apart from their more intrinsic benefits, the sector is a significant source of income and jobs, and produce important economic spillover effects to the broader economy. Art galleries are key driver of innovation, which is a source of creative and critical skills with strong linkage to the tourism sector and the economy in general (OECD, 2021: 2). The sector has significant social effects, from promoting local social capital and social inclusion to supporting education and health and wellbeing. Thus, to address the question, art galleries have both direct and indirect positive impact in improving people’s lives. Consequently, people should be encouraged to engage with the arts, particularly by frequenting the art galleries.
One key problem, however, regards the art gallery’s challenge of shaping power relations in the society, particularly by promoting social and class relations. Art galleries and museums can incorporate various strategies to draw wide visitations and have positive social impacts. For instance, rather than focusing only on their role as contributors to a society whose members are joined together by common cultural and historical heritage, it is important that art galleries also make artworks that unify everyone instead of engineering class and social differentiations. Similarly, art galleries should operate as community-based institutions capable of serving everyone via active participation in their daily activities, on which exhibitions have direct and significant bearing (MacClellan, 2003: 20).. Consequently, art galleries would be spaces where everyone is included, and which would instill significant levels of relevance, choice and liberty to visitors.
Therefore, it is important that art galleries review their roles in the contemporary society and reposition themselves appropriately (Hooper-Greenhill, 2000: 150). For instance, it would be important that museums offer training to all visiting children as part of a general forward planning to ensure a broader, intelligent yet real enjoyment of artworks by the future generation. That is, as democratic and democratizing institutions with a moral responsibility of educating the masses on art, museums have to emphasize their role in encouraging the masses to enjoy artworks. The primary barrier to museum involvement and participation are cultural instead of economic reasons (Bennett, 2009: 243). Thus, art galleries and museums must design their exhibitions in a manner that aligns to people’s educational needs, tastes and preferences, and learning processes and methods (Hooper-Greenhill, 2009: 19)
Generally, the contemporary art gallery has to engage in various activities and play numerous functions. It must be a place that provides connoisseurship and consumption, aesthetic contemplation and entertainment and private delectation along with public provision (Prior, 2003: 63). That is, museums must diversify their activities and resources to capture the imagination and interest of a public that is increasingly by its ever-increasing and perpetually-widening entertainments and distractions. Such a paradigm shift in its operations is necessary if it wants to continue playing its education, entertainment and enlightenment role for a growing number of curious masses.
Conclusion
From the discussion, the art galleries or museums are an important space within the society. They hold a special and beneficial space within the community, as the essay has shown that they improve people’s lives in diverse ways – both directly and indirectly. Regarding the extent of their impact, a befitting answer is that such cannot be quantified. However, a crucial issue that museums must address is their ability to perpetuate social and class distinction. Thus, art galleries must ensure that they carefully collect and curate their exhibitions in a manner that does not adversely shape the power relations within the society, but foster social inclusion and equality. Art galleries must provide something for everyone.
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