“Beauty is in the eye of the beholder” finds its counterpart in art: perhaps art exists only through the act of being observed. This idea ties into phenomenology, a philosophical approach that emphasizes individual experience. Art, in this view, is not a static entity but a relationship—a moment of interaction between object and observer.
John Dewey, a pioneer of this relational perspective, argued that art is less about the artifact and more about the experience it generates. A sunset, a graffiti-covered wall, or even a cluttered desk can become art if it evokes a profound response. In this sense, art does not reside in objects but in moments. However, this subjectivity introduces complexity. If art is fully dependent on perception, does anything have the potential to be art? Could even the absence of an object—a blank gallery, an empty street—constitute an artistic experience? These questions have been explored by conceptual artists like Yves Klein, whose The Void exhibition in 1958 presented an empty gallery space as the artwork itself. The absence of objects demanded viewers engage with their own expectations and imaginations, suggesting that art can exist even without a tangible medium.
The Frame and Its Limits: Do Museums Still Matter?
Museums have long served as arbiters of art, offering context, preservation, and legitimacy. Yet, as contemporary art increasingly embraces everyday objects and experiences, the traditional role of museums is being questioned. Do museums remain relevant in a world where art spills into public spaces, digital platforms, and even ordinary life?
One perspective is that museums provide a critical framework for understanding art. By placing works in historical or thematic contexts, they enable deeper engagement and interpretation. Without these structures, art may risk losing its meaning or becoming purely decorative. For example, Picasso’s Guernica would lose much of its political and emotional power if displayed without context.
On the other hand, art that exists outside these structures offers a more immediate, democratic experience. Everyday installations, for instance, thrive precisely because they are unmediated. They are not curated or framed but discovered by those who take the time to notice. This immediacy can make art more accessible, bridging the gap between high art and everyday life.
Digital spaces further complicate this dynamic. Platforms like Instagram act as informal “museums,” allowing anyone to curate and share their interpretations of art.
TLDR
Everyday installations are not curated but discovered by those who take the time to notice.
