Humanities and Arts
How Museums Make Us Feel: Affective Niche Construction and the Museum of Non-Objective Painting
Abstract
Art museums are built to elicit a wide variety of feelings, emotions, and moods from their visitors. While these effects are primarily achieved through the artworks on display, museums commonly deploy numerous other affect-inducing resources as well, including architectural solutions, audio guides, lighting fixtures, and informational texts. Art museums can thus be regarded as spaces that are designed to influence affective experiencing through multiple structures and mechanisms. At face value, this may seem like a somewhat self-evident and trivial statement to make. However, in this article, I argue that niche construction theory enables us to make several illuminating observations about the ways in which art museums are engineered to influence our feelings. To expound on this claim, I single out for discussion the Museum of Non-Objective Painting, which for its entire lifespan (1939–52)—and prior to its evolution into the Solomon R. Guggenheim Museum—was expressly organized to kindle in its visitors a special, spiritual form of aesthetic experience: a liberating feeling of cosmic rhythm and order, no less. The argument will proceed as follows: In Part 1, I introduce the basics of niche construction theory and specify the sense in which I apply it to museums and aesthetic affective experiencing. In Part 2, I outline the origins and ethos of the Museum of Non-Objective Painting, after which I pin down the type of affective experience it fostered by drawing from visitors’ self-reported reactions to the artworks on display. Then, in Part 3, I use niche construction theory to explain how the Museum consciously fashioned itself, by means of various mutually supportive resources and technologies, into a fertile setting for the specified feelings. Finally, in Part 4, I extend beyond the discussed case to assess the implications of niche construction theory for a broader understanding of how art museums make us feel. In other words, by tracing the early steps of the Museum of Non-Objective Painting towards the present-day Guggenheim, I call attention to the general variation in affective niches as regards their structure, technologies, and affective aims. Overall, the article elucidates the functioning of art museums as affective niches and furthers the conceptual development of niche construction theory in aesthetics.
Key Questions
What is the central theme of the article "How Museums Make Us Feel"?
The article explores the concept of "affective niche construction," particularly how museums, through their architecture, exhibitions, and atmosphere, evoke emotional responses and shape the experiences of visitors, focusing specifically on the Museum of Non-Objective Painting.
What is affective niche construction in the context of museums?
Affective niche construction refers to the way in which physical and cultural environments (such as museums) are designed or shaped to elicit specific emotional reactions from visitors, influencing their engagement and emotional experiences during their visit.
How do museums shape our emotional experiences, according to the article?
The article suggests that museums, particularly through their spatial organization, artwork presentation, and curatorial strategies, create emotional atmospheres that influence how visitors perceive and feel about the art they encounter. These emotional experiences are integral to the visitors' engagement with the artworks.
What role does the Museum of Non-Objective Painting play in affective niche construction?
The Museum of Non-Objective Painting serves as a case study in the article, demonstrating how a specific museum's design, focusing on abstract and non-objective art, fosters a unique emotional response. The museum’s architectural choices and presentation techniques enhance the emotional connection to the art, inviting visitors to experience emotions that transcend the visual content itself.
What is the significance of non-objective painting in shaping museum experiences?
Non-objective painting, which lacks recognizable subjects or forms, invites viewers to interpret the artwork emotionally and intuitively. The article argues that this genre encourages a deeper emotional engagement with the art, as visitors are not distracted by literal representations and are instead guided by affective responses.
How does affective niche construction relate to broader theories of aesthetics?
Affective niche construction ties into broader aesthetic theories by emphasizing the embodied, emotional dimensions of art. The article connects this concept to philosophical ideas that consider art as a space for emotional and sensory exploration, suggesting that museums can enhance this by intentionally crafting experiences that invite emotional engagement.
What implications does the article have for museum design and curation?
The article implies that museum designers and curators should consider the emotional impact of spatial arrangements, lighting, and artwork placement. By understanding how their choices affect visitors' emotional experiences, museums can create more engaging and impactful encounters with art, fostering deeper connections between visitors and the artworks.
What are the broader consequences of affective niche construction in museums?
The broader consequence of affective niche construction in museums is the potential to enhance public engagement with art, making the museum experience more immersive and meaningful. It also suggests a shift from purely intellectual engagement with art toward a more holistic, emotional interaction.
