The structure, and similarly open spaces within architecture

The history of the
museum has long been oriented around the ways in which it presents art to the
public, specifically in terms of the museum’s physical structure and use of
space. The architecture of museums have shifted over from monumental temple to
instrumental white cube, occupying a role on either pole that began to blur
during the second half of the twentieth century and through today with
contemporary art practice. As art began to change, the dominance of one syle of
museum was mitigated, as museums demonstrated through architecture a response
to the evolution of art and its purpose. With the end of modernism, artwork
began to require a diverse variety of spatial settings, as well the vast
variety of art in all forms, mediums and sizes influenced museum diversification
and individuality, as no style was deemed solely superior. Although
contemporary art in regard to its ranging form, size and medium was given privilege
to museums that not only had room, but also that evoked influence back in the
artist. A successful museum was therefore successful in ability to find a place
between the instrument and monument, using architecture and space in obtaining
this success. What has been a key success in the relationship between the
architecture of museum, the art it hold and the audience, is the architect’s understanding
of what space can accomplish and the curator’s job of employing this space most
accurately through art’s evolving and diverse demands. Architecture in every regard
bean to be reiterated as not only framing a collection or exhibition, but as a
canvas in and of itself. The negative space within a work of art is often a
fundamental component of its structure, and similarly open spaces within architecture
help define a building and its relationship with its contents. When the
building is a museum, the open spaces operate in a unique way, as a literal
canvas onto which an artist may construct his or her own reality. The museum
building demonstrates and dynamic narrative that gives reference and
understanding to art in a way that is important for both ‘physical and
intellectual resonance with the audience.’ The museum experience has evolved to
the point where factors never anticipated before are being pursued, in which an
artist employs the museum as a part of his or her work, allowing museums to
adapt and evolve in a manner that is direct with not only artists, but changes
aspects of space and building through art without ever actually changing its
foundation. Art references the presence and meaning of the museum building and
vice versa. The Museum of Modern Art, Guggenheim, and Tate Modern represent
three different museums that have responded differently to the evolution of art
and the role of architecture and space, and each institutions embracement and
response to art is accomplished most successfully when their understanding of
architecture and space is employed in manner indicative of monument and
instrument.