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Open AccessArticle

Reviewing the Inclusion of Artists’ Holograms in the Permanent Collections of Fine Art Museums

Independent artist, Hong Kong, China
Arts 2019, 8(4), 147; https://doi.org/10.3390/arts8040147
Received: 10 August 2019 / Revised: 28 October 2019 / Accepted: 1 November 2019 / Published: 4 November 2019
(This article belongs to the Special Issue Holography—A Critical Debate within Contemporary Visual Culture)
Opening in 1976 with the exhibition, “Through the Looking Glass”, the Museum of Holography (MOH) emphasized from the beginning the importance of artistic holography with the inclusion of several holograms by artists whose primary practice was holography, articulating for the first time a distinction between artists, scientists and technicians. While the scientific and engineering principles underlying the technology could educate a public, holograms made by artists provided the visual syntax for the creative possibilities holography could offer. The MOH continued to encourage and support artists’ work throughout its history, amassing a large collection of holograms representative of the most prolific period of artistic activity from the mid 1970s to the mid 1980s. The Massachusetts Institute of Technology Museum (MIT Museum) in Boston acquired the entire archive including artistic and technical holograms as well as all related materials when the MOH closed in 1992. This paper will seek to explore whether the medium of holography within the visual arts has led to fine art museum acquisitions in the intervening decades. View Full-Text
Keywords: holography; hologram; laser transmission hologram; white light reflection hologram; Multiplex hologram; installation holography; hologram; laser transmission hologram; white light reflection hologram; Multiplex hologram; installation
MDPI and ACS Style

Dinsmore, S. Reviewing the Inclusion of Artists’ Holograms in the Permanent Collections of Fine Art Museums. Arts 2019, 8, 147.

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