“For many [people] It’s a bit of a sterile experience in a lot of galleries, mainly because they find it a little intimidating, they don’t know what they’re looking at,” he said.
“We’re really seeing visitors who don’t go to the gallery all the time.”
Art for non-lovers has proven a winning formula and Peterson’s Grande Experiences business now includes five permanent galleries in Melbourne, Los Angeles, Indianapolis, Rome and Denver, and 15 touring exhibitions.
He said holding exhibitions with some artists, such as Salvador Dali, required negotiations with their foundations or estates, but Monet and most Impressionist artists did not have licenses because of the time that had passed since they died.
Peterson’s biggest problem was finding images of high enough resolution to use in the exhibition.
“We projected it at four stories high resolution, so the real foundation asset that we started with, the artwork had to be high resolution and true to what we were doing in the first place,” he said. “You can’t just pull it off the internet, for example.”
He said he wanted The Lume to feature more than just dead white male artists, and Monet & Life Friend will include “features” of three emerging digital artists along with the Impressionists.
“It’s a balance,” he said. “We’re showing great art and artists in a way that’s different than most people know and we’re also highlighting these emerging digital artists.”
Van Gogh Live ends on October 9 and Monet & Life Friend opened on October 26.
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