Disrupting the Art Museum
Alex Mayhew on ReBlink at the AGO and Augmented Reality in the Museum Space
Digital interventions using augmented reality (AR) don’t have to be gimmicky, or devoid of meaning. Augmented reality can be used to create meaningful connections between the viewer and the artwork. Alex Mayhew’s recent project at the AGO, ReBlink, aims to do just that. Mayhew encourages people to look beyond the “wow factor” of AR and consider its potential as both an artistic and educational platform. Alex Mayhew is an internationally recognized concept designer, developer, producer, and digital media artist, who creates innovative and compelling media-based experiences.
“I observed visitors coming into the gallery space, some just glancing at paintings, occasionally stopping for a second to snap a photo without even looking up. It’s such a shame that so many seemed to be caught up in the modern-day rush and could not slow down just for a moment — I wondered how I could change that.”
Now, more than ever, the purpose and relevance of the traditional museum is being challenged. Art and cultural institutions are in the process of redefining themselves within the new digital landscape, while simultaneously responding to renegotiations of cultural value. The modern museum is one that is people-centred, accessible, and focused on user experience. In order to remain relevant, museums continue to invest heavily in finding new ways of increasing patronage and redefining their relationship with their audience.
The use of augmented reality apps to connect and engage audiences with cultural objects and works of art is a growing trend within museums. These disruptions to the traditional museum experience have ruffled some feathers and generated debate. There is still some concern that viewing and interacting with art and cultural objects in a digital space somehow threatens authenticity. Alex Mayhew, with the help of his Impossible Things team, challenged this idea. By juxtaposing two realities, ReBlink demonstrates how AR can be used intelligently to create a dialogue between the past and the present, an enjoyable play on time. Older works of art are re-contextualized to create new meanings and new narratives are formed.
The exhibition encourages visitors, using their smartphone device, or one of the iPads installed in the space, to interact with selected paintings from the AGO’s European and Canadian collections. Using an augmented reality app called ReBlink, users can hold their smart device up to a painting and watch it come to life; they see a 21st century version of the original painting, with changed elements. Two children are depicted in front of a fireplace in Paul Peel’s After the Bath, painted in 1890, but in the AR version, the fireplace becomes a television and CP24, Sesame Street, news stories, and advertisements appear on the screen. In Artus Wolfaert’s 17th century painting, Saint Bartholomew appears as a hip, well groomed man, sitting in a Starbucks working on his laptop; further exploration reveals a barista working behind a counter. The paintings become three-dimensional and can be explored from various angles.
There is also an opportunity for viewers to become part of the artwork and share their experience on social media. Floor signage tells both the participant and the photographer where to stand, as subjects from two paintings gather together for a group portrait. Mayhew notes that although this was intended to encourage viewers to share their photos, the digital remix is layered with commentary. On the subject of social media integration within an exhibition, Mayhew feels that AR works very well, but stresses the importance of doing it intelligently. A balance is needed between preserving the integrity of the remixed, digital artwork, while also making it interactive and sharable. Getting the audience to continue the conversation on social media, is now a primary focus for most museums. #reBlinkAGO
“The entire project was actually conceived as a work of digital art and although it functions simultaneously as an engagement strategy, ReBlink was always intended as an art piece. Each intervention has a highly-considered concept. That’s why it is so important to actually interact with the pieces in ‘real life’ rather than to judge it by the over edited videos on the web. The use of AR technology can be easily judged as a gimmick, but experience ReBlink first hand to see the depth of the commentary.”
Mayhew got the idea for ReBlink after working tirelessly on another project for the AGO. He recalls standing in one of the galleries looking at George Agnew Reid’s painting, Drawing Lots, and experiencing a significant contrast between the serenity of the painting and his own life, which at the time was very hectic. Reflecting on the past versus the present and the profound connection he had with the artwork at that moment, Mayhew wondered if he could somehow recreate that experience for others. Interested in exploring how the creative and technical boundaries of AR could be pushed, he decided it was the ideal platform to work with.
“I connected with the painting, because of the contrast I had observed and felt with my own life. People walk past older paintings, because they don’t feel a connection, so they can’t relate to it. By viewing the painting through the modern days lens of ReBlink, visitors can start to feel the same connection I felt whilst nudging them to consider commentary that is being explored.”
When asked about whether digital media technologies like AR have the potential to take away, rather than add meaning within the context of an exhibition, Alex Mayhew says it’s all about the approach.
“When AR is used in a considered way it can add meaning to the viewing experience rather than take it away. When it fails, it is not the fault of the medium, it is the approach that has been taken to the medium. Part of the problem with a lot of AR content, is that it doesn’t have enough of a reason to actually be in AR. I think part of the reason the show has been successful is that it goes beyond the gimmick of the technology, there is substance. ”
One of the key challenges museums have today, is connecting with and engaging the millennial audience. While Mayhew feels that ReBlink successfully checks that box, he also measures the success of the project by how much older generations enjoy the experience.
“The show has been resonating with art connoisseurs and the general public, and has proven its appeal from kids to the golden generations. In general, it has received a very positive response. I particularly like it when older visitors ‘get it’. Not just because of the technology, but the additional layers of meaning. This makes me really happy. And with the millennials, we have been successful in using the very technology that usually shortens attention spans, to get them to slow down and to really look and reflect with paintings they otherwise may not connect with. So yes, overall, I think it has been a great success.”
The Impossible Things team look forward to working on more projects with museums in the future. Mayhew believes there are multiple applications for AR within the museum space, going beyond digital interventions and creating unique learning experiences for the museum audience. The Impossible Things team are currently looking at ways to bring the ReBlink experience into people’s homes and schools, making it more accessible to the public.
Exhibition dates for ReBlink at the AGO are July 6, 2017 — April 8, 2018 and the exhibition is included with general admission. It is recommended that you download the ReBlink app onto your own device before entering the exhibition. The app is FREE and available at both the App Store and Google Play. Don’t forget to bring headphones, or turn up the volume on your phone to get the full experience!
Works Consulted:
Akker, Chiel van den., and Susan Legêne. Museums in a digital culture: how art and heritage become meaningful. Amsterdam University Press, 2016.
Bautista, Susana Smith. Museums in the digital age changing meanings of place, community, and culture. AltaMira, 2014.
Hylland, Ole M. “Even Better than the Real Thing? Digital Copies and Digital Museums in a Digital Cultural Policy.” Culture Unbound: Journal of Current Cultural Research, vol. 9, no. 1, 2017, pp. 62–84.
Karp, Cary, et al. “Digital Heritage in Digital Museums.” Museum International, vol. 66, no. 1–4, 2014, pp. 157–162.
Kidd, Jenny. Museums in the New Mediascape. Ashgate Publishing Limited, 2014.
Wyman, Bruce, et al. “Digital Storytelling in Museums: Observations and Best Practices.” Curator: The Museum Journal, vol. 54, no. 4, 2011, pp. 461–468. Web. Oct 11, 2017.
