gallery design

Posted in Antiquities, Getty Villa, J. Paul Getty Museum

Meet Jeffrey Spier, the Getty Museum’s New Antiquities Chief

Getty Museum's senior curator of antiquities, Jeffrey Spier, in the East Garden at the Getty Villa
Getty Museum's senior curator of antiquities, Jeffrey Spier, in the East Garden at the Getty Villa

What the Getty Museum’s new senior curator of antiquities has on his to-do list. More»

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Posted in Architecture and Design, Art, Behind the Scenes, J. Paul Getty Museum

Designing Heaven And Earth

Galleries of Heaven and Earth at the Getty Villa
Icons glow against "Raspberry Truffle" walls.

Behind the scenes with the design of an exhibition of Byzantine treasures. More»

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Posted in Antiquities, Architecture and Design, Exhibitions and Installations, Getty Villa, J. Paul Getty Museum

Ancient Sicilian Coins: Miniature Masterpieces, Full-Scale Challenges

Coin with Nike Driving a Four-Horse Chariot
Royal Library of Belgium—Coin Cabinet

The designer of the Sicily exhibition at the Getty Villa reveals the challenges of displaying small, double-sided, intricate objects—coins. More»

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Posted in Behind the Scenes, Exhibitions and Installations, J. Paul Getty Museum, Sculpture and Decorative Arts, Voices

Getty Voices: Looking Closely

Using augmented reality on an iPad in The Life of Art at the Getty Museum

As the designer of The Life of Art, my job was to get you to look—really look. More»

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Posted in Architecture and Design, Behind the Scenes, Exhibitions and Installations, J. Paul Getty Museum

Church Pews and iPads? Designing “Florence at the Dawn of the Renaissance”

Installation view of Florence at the Dawn of the Renaissance showing pews and iPads
Installation view of Florence at the Dawn of the Renaissance showing the design treatment for a gateway object, Giotto's Peruzzi Altarpiece from about 1309–15. (North Carolina Museum of Art, Raleigh, Gift of the Samuel H. Kress Foundation, GL.60.17.7). At left, The Virgin Mary with Saints Thomas Aquinas and Paul, about 1330, Bernardo Daddi. The J. Paul Getty Museum. At right, the Carmina regia manuscript, about 1335–40, Pacino di Bonaguida. The British Library

When we first started planning for the design of Florence at the Dawn of the Renaissance in the fall of 2011, we faced a major challenge: how to deliver the wealth of information we wanted to convey about the artworks…. More»

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Posted in Art, Behind the Scenes, Exhibitions and Installations, J. Paul Getty Museum, Sculpture and Decorative Arts

See the Decorative Arts from a New Angle

dec_arts

Do artworks have an inner life? You might think so when you visit a new exhibition opening today at the Getty Center. The Life of Art: Context, Collecting, and Display presents the life stories of four objects made to serve… More»

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Posted in Architecture and Design, Behind the Scenes, Exhibitions and Installations, J. Paul Getty Museum

Creating a Canvas for “Pacific Standard Time: Crosscurrents”

Gallery view of Pacific Standard Time: Crosscurrents at the Getty Center

As you move through Pacific Standard Time: Crosscurrents in L.A.: Painting and Sculpture, closing this Sunday, the colors of the walls or the unusual angles of the wall panels might not be the first thing you notice. But Museum designers… More»

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Posted in Art, Behind the Scenes, J. Paul Getty Museum, Paintings

Labeling Turner

Modern Rome–Campo Vaccino, Joseph Mallord William Turner (English, 1775–1851), 1839. Oil on canvas, 36 1/8 x 48 1/4 in. (unframed), 48 1/4 x 60 3/8 x 4 3/8 in. (framed). The J. Paul Getty Museum, 2011.6

Writing the gallery label for a painting can sometimes feel like an art form in itself, a kind of circumscribed descriptive poetry not unrelated to haiku. How, in fewer than 100 words, do you capture the essence of an object,… More»

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      ROSE

      This milky pink boomed into popularity because of a marketing ploy, a mistress, and its ambiguous origins.

      In an effort to compete with the renowned Meissen porcelain factory, the French Sèvres manufactory recruited the glamorous Madame de Pompadour (mistress to King Louis XV). Like a smart sponsorship deal, Sèvres gave her all the porcelain she requested. 

      Introduced in 1757, this rich pink exploded on the scene thanks to favoritism by Madame Pompadour herself. 

      The glaze itself had a weird history. To the Europeans it looked Chinese, and to the Chinese it was European. It was made based on a secret 17th-century glassmaker’s technique, involving mixing glass with flecks of gold.

      For more on colors and their often surprising histories, check out The Brilliant History of Color in Art.

      12/19/14

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