Responding to Merleau Ponty’s (2012) ideas of how we can intensify our ways of perceiving in the particular spaces of the (art) museum, Hubert Dreyfus suggests that ‘without our embodied ability to grasp meaning, relevance slips through our non-existent fingers’ (1998, p.11). If we literally hold onto ideas through an alternative interpretative engagement (with existent fingers), can the matter of these objects (when considered in proximity to exhibited artworks) potentially interrupt habitual perception and extend visual literacies? A move away from familiar trajectories of understanding towards less stable and more subjective diverse ways of knowing.
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Dr. Kimberley FosterKimberley Foster is an artist and lecturer and a Cambridge Visual Culture Visiting Research Fellow 23/24. Her PhD practice research; Material Acts of Thinking and Learning in the Art Museum. Embodied Encounters and the Pedagogical Art Object focused on material engagements at Tate Modern and Sainsbury Centre UEA. She has a collaborative practice as sorhed (www.sorhed.com) and works extensively with exhibitions and collections. Kimberley is the Head of Programme for the MA in Arts and Learning at Goldsmiths, University of London. Archives
April 2024
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