This article reviews the early antiquity of DOCUMENTA displays, which took place after each five year period in Kessel, Germany since 1955. The author recalls his elongated commitment with the theme of historiography of displays (Grasskamp 1). He makes a comparison between documenta and other ancient exhibitions with the same characteristics and he takes notes of special features, which makes them stand out from the rest of the exhibitions.
In addition, the author highlights a career summary of his participation in the repetitive exhibitions derived from documenta in the year 1959 through Venice Biennale. Also, he took part in major issues in the contemporary museums (Grasskamp 2). He then discovers the intricate interactions between an artist and institutions put in place to cater for the needs of the artist and grow their talents.
Any researches that looks into the past displays entails intricate and ambiguous subject. The article tempts to criticize exhibitions and site a mistake here and there but its objective is educating and informing on past history. Over the years, authors modified art exhibitions into subsections of styles hence impacting or altering the styles in various ways. Hence, it would be unfair to claim that exhibitions in itself lost its spark, yet a lot of people and artists are at liberty to pick one concept from one contrast style and infuse it with another style at their own convenience(Grasskamp 7). The rules completely changed, if not for the better, then, may be for personal reasons. It goes without saying that the current society is at a crisis. People no longer factor in emotions or pay close attention to detail while making art. Simply put, an aspect an average artistry is the relevance and the longevity of art in general.
The manner in which people criticize classical architecture matters a lot. Criticism relies on the mechanism and not the building one talks about per se. Thus, one can decide to talk about the church building not meeting the recommended classical architecture standard and neglect the mall (Grasskamp 6). Nevertheless, it does not matter the type of buildings one criticizes, the only element of concern is writing on exhibitions. Writing about any form of art informs preserves and raises awareness on the dos and donts of the ancient yet vibrant style. To emphasize further, art displays is not a building but a tradition and a way of life that needs preservation and writing about it sheds more light on the art.
The author establishes insincerity of the older generation through displays. He calls the young men vibrant and people should learn how to integrate the ancient and new generations. Yet, he fails to categorize the young man seated next to him as being part of the gang because he does not look the part (Grasskamp 10). Thus, the author assumptions are sometimes supportive of artist and sometimes try to justify the poor quality lapse I quality. One of the main aim of the author was to reveal and give information on exhibition past, which led to the excavation of documenta 11. An art is at liberty to do as he or she wishes with art but fundamental principles of the art still remains for a long time to come. All in all, art is a form of celebratory rhetoric and nothing can take place without appreciating it in its varied forms.
Works cited
Grasskamp, Walter. "To Be Continued: Periodic Exhibitions (documenta, For Example)." Landmark Exhibitions Issue, Tate Papers 12 (2009).
