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HologramsA Cultural History$
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Sean F. Johnston

Print publication date: 2015

Print ISBN-13: 9780198712763

Published to Oxford Scholarship Online: November 2015

DOI: 10.1093/acprof:oso/9780198712763.001.0001

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PRINTED FROM OXFORD SCHOLARSHIP ONLINE (oxford.universitypressscholarship.com). (c) Copyright Oxford University Press, 2021. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in OSO for personal use. date: 19 January 2022

Holograms on Display

Holograms on Display

Chapter:
(p.140) 9 Holograms on Display
Source:
Holograms
Author(s):

Sean F. Johnston

Publisher:
Oxford University Press
DOI:10.1093/acprof:oso/9780198712763.003.0009

From the late 1970s, cultural understandings of holograms fragmented and blended in new ways. The products of artisanal cottage industry mutated into visually surprising and aesthetically-pleasing creations. Exhibitions peaked during the 1980s, and holograms by engineers, artists, entrepreneurs and amateurs intermingled in the public eye. Established now as a visual medium, the hologram broadened its audiences. The first step was towards the art world. Holograms represented a vision of technological art, and this role attracted both growing popular audiences and artistic and cultural critics. Museums and galleries sought new audiences by combining these representations of modernity with more traditional artefacts of cultural heritage. This new engagement with holograms probed questions at the heart of contemporary culture including the value of authenticity, the aesthetics of artistic expression and the appropriate role for modern science.

Keywords:   exhibition, fine art, art criticism, postmodernism, modernism, visual media, cultural heritage, authenticity, aesthetics, artists

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