How the White Cube Came to Dominate the Art World

Of course, that was the difference between a museum funded by an enduring estate and a gallery needing to actually sell shit, but still.

What is important in my opinion is that the room is honest, so there is no patronising.

*Niklas Maak

*When is a room honest?

*Charlotte Klonk

*Well, as soon as what is being aimed for becomes obvious to the viewer. What remains too subliminal, for example, are the colour nuances in the new display of the collection in the Nationalgalerie. If visitors a

aside. In a typical gallery, ten or twenty gold-framed windows are blowing holes through the four walls.

Another successful defense of society against the culture within itself is to give artists a place by regarding them as the producers of property, thus elevating the value of consuming art, or owning it. It is notable that very large collections of art, and all the world’s major museums, are the work of the very rich or of societies during strongly

Then in the 1920s discussions in which white received connotations of infinite space started to emerge, mainly among Constructivist artists and architects. This coincided with temporary exhibitions becoming increasingly important in the museum, and with them the moveable partition wall and flexible groundplan.