Third source: aesthetics
Museums are naturally driven by their purpose of collecting works of art. It is therefore possible to examine whether works from the same movement, such as Surrealist, tend to be in the same room. The Tate creates theme-based and movement-specific clusters (video installations, Cubism or Minimalism). In contrast, the Centre Pompidou shows a considerably more diverse pattern of exhibition arrangement.
Setting the boundaries of creativity
Why, in fact, did researchers analyse top museums? They thought that the arrangements and composition of exhibitions might offer clues to the social and institutional dynamics of stakeholders within an organisation. In the case of museums, these include:
- directors
- curators
- conservationists
- marketing employees and others
All these people have to maintain a fine balance between state, market and aesthetic imperatives, all of which stem from diverse demands. For example, curators may need to settle for a compromise with directors when it comes to the selection of artists and artworks because directors need to follow what the state wants from them as well as market logic. Curators, however, often still have full autonomy over how the works of art are then displayed.
All of this could serve as a guide for creative businesses (fashion, film, music and high-tech) in terms of finding the balance between often opposing imperatives. There are many tensions present:
- creativity/innovation and profit
- art and commerce
The business side sets the boundaries. Designers should then enjoy freedom in how to do something within those boundaries. This is the conclusion of the article on the website of the INSEAD business school.
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