theguardian.com
Beyond the Visual" Exhibition Promotes Tactile Art Accessibility
The Henry Moore Institute's "Beyond the Visual" exhibition, opening in November, features tactile sculptures created with and curated by blind and partially sighted artists, aiming to increase accessibility and challenge the art world's "ocularcentric bias.
- How does the exhibition connect historical attempts to engage blind audiences with contemporary art practices?
- Beyond the Visual" builds on previous exhibitions like the Tate's 1981 Sculpture for the Blind and the 1987 Revelation for the Hands, highlighting a historical trend towards increasing accessibility in art. The exhibition's impact extends beyond the visually impaired; co-curator Aaron McPeake notes that accessibility improvements often benefit everyone, citing examples like audio announcements on public transport. The inclusion of works by artists like Lenka Clayton, Emilie Louise Gossiaux, and Jennifer Justice showcases diverse tactile art forms.
- What immediate impact will the "Beyond the Visual" exhibition have on the accessibility of art for blind people?
- The Henry Moore Institute in Leeds is hosting "Beyond the Visual," the first sculpture exhibition curated by and with blind and partially sighted artists. The exhibition aims to challenge the art world's "ocularcentric bias" by advocating for tactile artwork and greater accessibility for blind visitors and artists. This follows a three-year research program resulting in changes at the Institute, including requests for tactile objects from artists for touch tours.
- What long-term systemic changes could result from the exhibition's focus on tactile art and challenging ocularcentric bias?
- This exhibition signifies a crucial step towards systemic change within art institutions. By actively involving blind and partially sighted artists in the curation and creation of tactile works, "Beyond the Visual" models inclusive practices. Future impact may include wider adoption of tactile elements in galleries, prompting a reassessment of accessibility and potentially influencing art education and creation methods.
Cognitive Concepts
Framing Bias
The article frames the issue positively, emphasizing the potential for positive change and the benefits of tactile art. The inclusion of quotes from various stakeholders, including artists, curators, and researchers, lends credibility and balance. The headline clearly states the central argument for tactile artwork's importance, but does not present this as the only solution for art accessibility.
Language Bias
The language used is largely neutral and objective. While terms like "ocularcentric bias" are used, they are explained in context, and the overall tone is informative rather than emotionally charged. There is no use of loaded or subjective language to sway the reader's opinion.
Bias by Omission
The article focuses heavily on the Beyond the Visual exhibition and its impact, potentially overlooking other initiatives or discussions around accessibility in the art world. While it mentions previous exhibitions addressing similar themes, a more comprehensive overview of the broader landscape of accessible art experiences could provide richer context. The article does not discuss the potential challenges or limitations of making all art tactile, or the potential cost involved in such widespread changes. This omission might lead to an incomplete understanding of the complexities involved in achieving widespread accessibility.
Sustainable Development Goals
The article highlights the positive impact of tactile art exhibitions on inclusivity and accessibility in art education, particularly for blind and partially sighted individuals. The exhibition, "Beyond the Visual," directly addresses the need for inclusive art education by providing tactile experiences and challenging "ocularcentric bias" within the art world. The initiative also promotes a broader understanding of art appreciation, benefiting all visitors.