Abstract Architect, painter, and designer Herbert Bayer was a progenitor of modern exhibition design that emphasized the visual perception of its audiences; his associate and occasional collaborator, Alexander Dorner, also approached the conception of exhibitions by focusing on viewer experiences. Their similar emphasis on the centrality of subject-viewers and differing philosophies of perception and publics came together in the first United States touring retrospective of Bayer’s work, organized by Dorner. The story of that exhibition, The Way Beyond “Art,” is one episode within a larger, trans-continental conversation between two modern exhibition-makers. Bayer’s galleries oriented information for a visitor’s optical register, often at a massive, immersive scale. Dorner’s conveyed experiences of cultural perception, allowing exhibited objects to be overpowered by “atmospheres,” were meant to progress learning and action outside of exhibition spaces. In the book associated with the Way Beyond “Art” exhibition, Dorner advocated (now famously) for the museum to become a “powerhouse” for producing new energy, rather than exhibiting only existing artifacts and works. Their negotiations over Bayer’s art within Dorner’s “Way” ultimately were not only discussions about the roles of curator and artist in determining subject matter, but also reckonings over the degree of responsibility that an exhibition has to its public: whether the task of the exhibition is to situate and inform or to catalyze new cultural movement.

中文翻译：

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重新审视超越“艺术”的方式：赫伯特·拜尔、亚历山大·多纳和观众实践

摘要 建筑师、画家和设计师 Herbert Bayer 是现代展览设计的先驱，强调观众的视觉感受。他的助理兼偶尔合作者亚历山大·多纳 (Alexander Dorner) 也通过关注观众体验来探讨展览的概念。他们同样强调主题观察者的中心地位以及不同的感知哲学和公众，在由多纳组织的拜耳作品的第一次美国巡回回顾展中汇聚一堂。那个展览的故事，超越“艺术”，是两个现代展览制作者之间更大的跨大陆对话中的一个插曲。拜耳画廊为参观者的光学登记册提供信息，通常是大规模的、身临其境的规模。多纳传达的文化感知体验，允许展出的物品被“气氛”压倒，旨在促进展览空间之外的学习和行动。在与 Way Beyond“艺术”展览相关的书中，多纳主张（现在著名）让博物馆成为生产新能源的“强国”，而不是只展出现有的文物和作品。他们在多纳的“方式”中对拜耳艺术的谈判最终不仅是关于策展人和艺术家在确定主题方面的角色的讨论，而且是对展览对公众的责任程度的估计：展览的任务是否是定位和通知或催化新的文化运动。在与 Way Beyond“艺术”展览相关的书中，多纳主张（现在著名）让博物馆成为生产新能源的“强国”，而不是只展出现有的文物和作品。他们在多纳的“方式”中对拜耳艺术的谈判最终不仅是关于策展人和艺术家在确定主题方面的角色的讨论，而且是对展览对公众的责任程度的估计：展览的任务是否是定位和通知或催化新的文化运动。在与 Way Beyond“艺术”展览相关的书中，多纳主张（现在著名）让博物馆成为生产新能源的“强国”，而不是只展出现有的文物和作品。他们在多纳的“方式”中对拜耳艺术的谈判最终不仅是关于策展人和艺术家在确定主题方面的角色的讨论，而且是对展览对公众的责任程度的估计：展览的任务是否是定位和通知或催化新的文化运动。