Abstract

The spatial organisation of museums and its influence on the visitor experience has been the subject of numerous studies. Previous research, despite reporting some actual behavioural correlates, rarely had the possibility to investigate the cognitive processes of the art viewers. In the museum context, where spatial layout is one of the most powerful curatorial tools available, attention and memory can be measured as a means of establishing whether or not the gallery fulfils its function as a space for contemplating art. In this exploratory experiment, 32 participants split into two groups explored an experimental, non-public exhibition and completed two unanticipated memory tests afterwards. The results show that some spatial characteristics of an exhibition can inhibit the recall of pictures and shift the focus to perceptual salience of the artworks.

Highlights

  • It is difficult to establish what constitutes a good museum/gallery exhibition

  • The curator must inevitably influence the perceived importance and possible interpretations of the object, which often go beyond the original intentions of the artist [4]

  • A study was designed in which participants explored an especially designed art gallery and took part in two unanticipated memory tests

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Summary

Introduction

It is difficult to establish what constitutes a good museum/gallery exhibition. It has been widely acknowledged that what visitors attend to [1,2] and what they ―get out of it‖ [3] The curator must inevitably influence the perceived importance and possible interpretations of the object, which often go beyond the original intentions of the artist [4]. Being aware of the space’s characteristics is crucial when designing an exhibition with its. Sci. 2014, 4 visitors in mind [5]. Providing exhibition designers and curators with tools to understand and control the influence of the already existing layouts upon the final experience of their visitors is an important goal, potentially serving in the design of new galleries in the future

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