I am enamored of the experimental way some museums are re-examining the visitor experience, especially the launch yesterday* of a Vincent van Gogh iPhone application at the Van Gogh Museum Amsterdam. Viewing art is often a passive, spectator activity, which I why I am always captivated by creative explorations of art and artistic spaces. Museums often suffer, or perpetuate, the public’s perceptions of them as aloof and haughty. A modern audience is entitled to expect a greater degree of engagement using methods fit for the 21st century, in tandem with the traditional reflective personal perusal of the artwork. The advent of new technologies and creative collaboration between institutions, artists and the public has allowed a unique and refreshing rediscovery of museum attendance.

A few years ago, the Victoria & Albert Museum in London, the world’s largest museum of decorative arts and design, curated a sensory exploration of that venerable institution called “Shhh…” The museum commissioned 10 different musicians and artists to create sound-pieces in response to different rooms and spaces. The contributors were incredibly varied, from big art names like Gillian Wearing and Jeremy Deller, to musicians like Roots Manuva, David Byrne, Leila and Elizabeth Fraser. Infrared sensors triggered the applicable tracks on the your MP3 player as you toured the building. The whole experience was stunning.

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We at dd|a are pet lovers. Most of us have at least one pet living with us in our homes. Research has shown that owning a pet can make people happier. It has also shown it can make people emotionally, and even physically, healthier. This is no doubt due in part to the companionship and unconditional love that a pet brings to an owner on a daily basis, and vice versa. We wanted to share with you some of our pet and owner relationship stories…

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What is going on here? Hmmmm…the dd|a team is up to something. Are these mug shots? I wonder what it could mean.

Stay tuned……………………………………….

The Film Forum in NY is doing a retrospective of Otto Preminger‘s work and I have to say that it’s a dubious enterprise. Watching The Man with the Golden Arm once again confirmed to me that his reputation of the maverick and auteur, rests very heavily on a series of poses and presumptions that his films made as being outre, modernist pieces of film art. The reality, for me, is that Preminger, with very few exceptions (like Laura), was firmly of the second rank of directors aping everyone from his fellow Germans, like Von Stroheim to William Wyler to Orson Welles.  (more…)