Abstract
Thomas Wilfred (1889–1968) invented an idiosyncratic artform, ‘lumia’, that projected coloured light onto screens. With these contraptions, Wilfred aimed to expand the concept of art beyond standard media categories. Yet critics and curators historicized lumia within the tradition of painting, and the artist himself adopted a form of museological presentation – the frame – for his works of the 1950s. Close consideration of a work in the holdings of the Metropolitan Museum of Art sheds light on how the disciplinary framework of museums obscures intermedia objects that prompt new approaches to their collection and interpretation.
Full Text
Published Version
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a call