I visited the University Gallery which had the artist, R. Roger Remington’s Serigraphs (fine art prints made by a silk screen process) exhibited. It was a gallery of Remington’s abstract artwork which ranged from nature scenes to pure abstract shapes. At first glance, all the artwork seemed to be placed at random. When I walked up closer however, some are grouped by theme. There was one series of water lilies grouped together, and then there were different bright colored squares on the next wall. Coming from a visual background and from a mom who works at a museum, I was aware of the technical side of an exhibition, for example, temperature and lighting. However, I never considered how museums have to be considerate of how the public may view a historical piece of artwork through placement. When walking into the University Gallery I became aware of the placement of the screen prints.
What really stuck out to me in this gallery was how each artwork was not framed or mounted, the art in its pure form was hung by binder clips and tacks. There was no glass to protect them. There was a lot of white space around them and a majority of them were lined up next to each other creating a line of work. What drew me to the image above was that it was all alone on a large white wall that could easily fit 3 prints. There seemed to be a spotlight on it and the caption was extremely small to the bottom right of it. The print was called Modular. It made me think this print should of been placed in the beginning of the gallery, but it was all the way in the back and the last one to be seen. The lighting forced me to look right to the center of the image first, where the 4 squares meet. It being the only print on the wall made me curious to examine it longer than the other prints on the other walls.