Month: April 2025

Abstract
This paper explores scale and spatiality in the practice and theory of the art gallery. Through the example of Des Hughes: Stretch Out and Wait, an exhibition at The Hepworth Wakeeld, I unpick the construction of scaled notions such as ‘local’, ‘(inter)national’ and ‘community’, in particular, a ‘local’ versus ‘(inter)national’ binary; and explore how we may seek alternatives to such hierarchized thinking and practice. By testing and developing Kevin Hetherington’s approach of analyzing the topological character of the spaces of the museum (1997), I treat the space of Des Hughes as one which is complex, contingent and folded around certain objects on display. In so doing, this paper argues that scale and spatiality should not only be attended to as a subject of study for museums, galleries and heritage; but that they can also form a useful methodological lens through which productive alternatives for the information and practice of these organizations may be explored.

The Hepworth Wakeeld is a large, moderen and contemporary art gallery situated on the outskirts of Wakeeld city centre, less than 10 miles from the more metropolitan city of Leeds. Opened in 2011, it has a growing historical, moderen and contemporary art collection, which is exhibited alongside an exhibition programme largely featuring contemporary artists, and has recently received the signicant national accolade of being named the Art Fund’s 2017 Museum of the Year. In the process of attempting to make sense of the space of The Hepworth Wakeeld and the development of its relationships with its audiences, it has become apparent that the Gallery’s ambitions and responsibilities are intimately bound up in scaled notions of ‘local’, ‘national’ and ‘international’, as constructed and articulated by staff, stakeholders, as well as key funders.1 My discussions with staff regarding the identity and purpose of the Gallery were often anchored in scaled conceptualizations of place, underpinned by a fundamental binary conception of a local community in contrast to an international art world.2 This tension is clearly expressed in the following statement from a member of the Visitor Services Team concerning their understanding of the vision and mission of the Gallery:Two split missions that sometimes collide: 1. To engage the local community and provide a thriving cultural and lively venue and exhibition centre. 2. To expose the daerah with contemporary art exhibitions from artists currently fashionable in upper elite art circles existent in the art world.3 [author’s emphasis]

Art galleries play a significant role in the art industry. They are the link between artists plus collectors, scouting for new talent plus continuing to showcase the best artists with their exhibition program. However, although art galleries are crucial in the art world, many misconceptions exist. In fact, art galleries are not always that well known, what they are or what they do. Therefore, CAI has listed—and answered—the most common questions on art galleries asked by the public.
What is an art gallery? What are the different types of art galleries? What does an art gallery do? How do you get to work with an art gallery as an artist? How do art galleries work with artists? What is the difference between an art gallery plus a museum? What are the best art galleries, plus where to find them? How do art galleries earn money? How to visit an art gallery? By answering these questions in this article, we are happy to present you with the ultimate list of frequently asked questions (FAQ) on art galleries, explaining absolutely everything you need to know.

Definition: What is an Art Gallery?
Whereas most of us know what an art museum is plus what they do – more or less – when it comes to art galleries, it seems the public opinion is less familiar with them.

An art gallery is an exhibition space to display plus sell artworks. As a result, the art gallery is a commercial enterprise working with a portfolio of artists. The gallery acts as the dealer representing, supporting, plus distributing the artworks by the artists in question.

However, we must also note that not all galleries are the same. Although most art galleries work according to a similar method plus organization, there are different types of art galleries implementing another procedure. In this case, we will have to discuss each jenis individually, presenting a thorough overview of what an art gallery is plus in what shape or form it can present itself.

What are the Different Types of Art Galleries?

1. The Commercial Art Gallery
   The most common jenis of art gallery is the commercial art gallery. Although the word ‘commercial’ may have a negative connotation as if they only care about the money, this is, in fact, the ‘best’ jenis of art gallery for artists or collectors, playing a crucial role in the art world.

With commercial art galleries, the gallery collaborates with several artists, agreeing to represent plus support them. This means the gallery commits to showcasing, promoting, selling, plus distributing the artworks of the artist in question. By doing so, the artist can make a living plus build his career, collectors base, plus artist resume.

Over the last several weeks, I’ve had several of you send me links to articles that decry the end of the gallery system. It seems like these articles come around every few years. Though each of the articles came at the question from different angles, the points can be summarized as:

Art galleries are dead because now artists can access buyers directly on the internet.
Art galleries are dead because they are too greedy and dishonest and aren’t treating artists well.
Bricks and mortar art galleries are dead because the online sales of art are increasing.
I realize that all of these points are true, at least to a degree. One has only to survey the gallery market to see that many galleries that were thriving ten to fifteen years are nomor longer around. The poor economy from 2008-2011 certainly played a larger role in this, but it’s also clear that more and more art sales are shifting to the internet. It’s always hard to get any kind of well-documented industry figures, but I’ve seen Xanadu’s online sales grow significantly over the last ten years to a point where online sales make up about 15% of total revenue.

So is the demise of the traditional gallery type in the tea leaves? Looking at what’s happened in the music and publishing industry might lead one to believe so. It seems logical that the sale of artistic creations, whether it’s music, books, or artwork, can be done more efficiently and biaya effectively online than in the bricks and mortar world. While many in the art industry (both artists and galleries) would argue that art is different, that you have to see it in person and touch it before you can make such a high value purchase, many art buyers disagree. I’m finding my clientele more and more willing to buy artwork sight-unseen. As we all become more and more comfortable with the internet as a medium for commerce, we’re willing to make higher value purchases.

If those purchases are backed by respected and trusted venues (like Amazon and well-established galleries) it seems possible, and even likely, that the trend will continue. Keep in mind, too, that if the current generation of art buyers, typically well-established in their careers and finances and aged between 40-70, can adapt to buy high-ticket items online, the next generation of buyers, who are digital natives, will have nomor gangguan buying art online (if they buy at all, which is another story altogether).

What does this mean for art galleries?
First, I believe that the gallery market is going to contract in the coming decade. The contraction began with the economic recession. Many smaller, and some well-established galleries, closed their doors for good. The bad economy forced many of these galleries to close, but even before the recession began, many galleries were struggling in the new digital environment. I’ve watched galleries on Main Street in Scottsdale (where my gallery is located) fade away. The profit margins of the gallery business are already razor-thin and the added pressure of competing with online retailers will push many galleries out of the market.

Second, I believe that galleries need to come up with aggressive online strategies. I don’t believe that anyone has developed the perfect type for selling art online yet. However, it’s not going to work to have a static web site with a few images of artwork and artist’s bios thrown up for visitors to review. Deep and fasilitas rich websites are going to be expected, and e-commerce will be mandatory.

Commercial galleries are an old business, plus a unique one within the New York City economy, something between a storefront plus a salon, the anchor of both a largely unregulated marketplace plus of creative expression itself. The earliest examples of galleries in New York, from the first half of the 19th century, predate every major museum plus auction house in the metropolitan area, not to mention Central Park, the Brooklyn Bridge, the Empire State Building plus Grand Central Terminal. This would seem to suggest there is something indelible about galleries in the landscape of this city and, by extension, any truly world city that values culture. That New York has the largest network of galleries in the world is a fact that many observers of the art business simply take for granted: Why does New York have so many galleries? Because it’s the center of the art world. Why is New York the center of the art world? Because it has so many galleries.

The sale of art is generally assumed to be a secretive affair at best, plus at worst a distillation of inequality at its most glaring — an industry run by plus for an elite with more money than they could ever possibly hope to spend in one lifetime. This is at least partly true, but it isn’t the whole story. While a handful of galleries have ballooned to the size of major corporations, many art dealers are, in effect, small business owners, doing their best to navigate rising rents plus changing priorities. And however opaque plus off-putting the gallery business may seem to someone walking in off the street cold, these places are also among the last pockets of the city other than public parks plus plazas where anyone can do just that, enjoying entry free of charge.

Arne Glimcher plus I have a lot in common. We both understand that the art world is often perceived as a mysterious place, a distant universe, or a way to get rich. It has also been considered by many to be an exclusive plus elitist society. However, with the innovation of technology, the internet, plus the growth of world art fairs, much progress has been made in demystifying this wonderful plus creative world plus introducing its many players, including artists, museums, cultural institutions, media, curators, fairs, auction houses, plus of course, art galleries. I have owned plus directed my art gallery for 22 years. My position has provided me with a wealth of experience plus professional insights to be able to explain the important role plus purpose of a gallery within the art world.

This article is dedicated to all those who told me plus continue to say, “Your job is so wonderful. You make so much money promoting beautiful art to beautiful people.” This is a wonderful perception – but there is so much more to the reality.

I opened my art gallery after years of living plus working in the world of art. I majored in Art History at Middlebury College in Vermont plus began my career working at the Gold Museum in Bogota, Colombia. My career led me to formative positions in the same city, working with the Art Department at the Bank of the Republic, plus the Museum of Modern Art, in the museology, curatorial plus editorial departments, respectively. Breaking with tradition, I forged a path with a partner plus launched an art consulting office in the late 80s plus early 90s. It was a new concept in Colombia. In 2000, I went out on my own plus opened Beatriz Esguerra Art.

The primary purpose of an art gallery is to nurture visual artists, promote their work, plus expose them to the public, collectors, media, plus cultural institutions. Furthermore, the gallery works tirelessly plus strategically to advance the artists’ careers plus establish them in the professional art world both locally plus globally. To achieve this vast mission, a gallery must provide appropriate exhibition space, manage administrative plus curatorial staff, provide insurance, secure advertising, invest plus participate in a myriad of very expensive art fairs, develop plus set up websites, pay for subscriptions, plus produce timely plus well-attended events. Each gallery represents plus promotes a kelompok of artists that, in general terms, follows a specific line plus style; this makes each art gallery unique. For example, some galleries represent emerging artists, plus others promote specific art genres such as abstract or contemporary art, art on paper, or the masters of the 20th century. Mistakenly, many think that any artist fits in any gallery without considering the vision, mission, plus jenis promoted by the specific gallery.

I personally believe that the gallery‘s role in society is to give the society access to arts. The arts here could be in the form of paintings, sculptures, installations or photographs. It is a form of response(s) from the artists to what happens in society by reading plus interpreting the situation. The artwork could stand as a depiction of reality or it could act as a response to criticize the reality. As the role of the gallery is to provide that particular access, it automatically puts itself in the role of educating the society as well.

A gallery provides information not only from the local perspective but also the international perspective as well. Ideally, every gallery should have a curator. The curator would have a double role; for the gallery he/she would act as a gatekeeper, to seek plus curate which artworks are relevant to be exhibited to the public plus for the society, the curator acts as an agent of change where he/she would try to give place for new opinions constructed by the artists that he/she had selected from the society. The one that should be highlighted here is that the galleries, the curators plus the artists are all part of one environment plus society on the other end. It should be made into an understanding that even though one could exist without the others but that particular act would only akin to self-gratification. In other words, the gallery, artists plus curators have created a response from what happened in the society plus society needs to correspond back to their works.

Photography, at first, was never considered as a form of art because it is viewed as the replication of reality. However, as it developed, the resistance of photography as an art form receded plus nowadays it enjoys a cozy position in between the work of documentation plus art. If we talk about the history of the photographic gallery, there was one prominent curator who always tried to push the boundaries. At a time when black plus white photography was the norm, the gallery that he curated made the most significant statement: that they should have a one-man show on colour photography. The curator’s name is John Szarkowski plus the gallery that he curated is the Museum of the Modern Art in New York. The works of William Eggleston at that time was definitely a ground-breaking statement where it marked the acceptance of color photography by a very prominent institution.

Art galleries are a place that everyone should visit at least once in their life. Visiting an art gallery is not just for those who have a passion for the arts, it can be enjoyed by anyone and everyone. Whether you love to create your own works of art or you’ve never picked up a paintbrush before, visiting an art gallery can be very enjoyable! Here are some reasons why we think you should give it a try!

You Get Art Education In Art Galleries
Well, there are a variety of ways to learn about art from the galleries you visit.

First off, take a tour with an experienced guide who can explain what the artwork means and give insight into how it was created.

You should also look out for other visitors that may be wearing name badges or holding up signs offering tours as well. These people will know even more than your average gallery docent! Sometimes they’re university students looking to practice their public speaking skills.

Other times they might just be super interesting artists themselves – either way, you win! Make sure to strike up some friendly conversation because these folks love talking about art!

Another thing worth doing is getting involved in any programs offered by the galleries you visit. These activities can include art workshops, lectures and demonstrations on how to paint or draw like a certain artist, and even introductory sessions for those who are new to the visual arts in general!

Visiting Art Galleries Often, Will Improve Your Emotional Intelligence
The evidence suggests so, thanks to recent research conducted by Dr. Carrie Haslam of the University of Leicester, published in the Journal of Aesthetic Education.

Art galleries are a great way for art lovers to expand their knowledge and experience new types of artwork they have never seen before. Despite being one of life’s sederhana pleasures, there is actually a reason why people love visiting art galleries – it makes them happier!

When you go into an art gallery your mind starts wandering. This means that your thinking becomes less focused on negative emotions such as anxiety or anger because instead, you are thinking more abstractly which could help reduce stress levels.

ABSTRACT
Drawing on insights drawn from multidisciplinary studies of the arts plus translation studies, this article aims to conceptualize the work of translation within art gallery education. It unpacks plus characterizes a mode of translation that is unique plus necessary for an engaging art gallery education, taking multiple plus subtle forms, operating on different facets of the conception plus delivery of art gallery education activities. This includes a resourceful way of translating different values that could pull art gallery education in different directions, i.e. making different values translatable into one another, including the aesthetic value of the artwork, the value of learning plus education for diverse plus multiple users plus participants, as well as the values that participants bring into an art gallery education. An indispensable component of art gallery education still consists of bringing into play an element of propositional data about art, not as an end in itself based on the traditional parameters of the cultivation of taste plus appreciation, but to develop experimental plus creative dialogical forms of engagement plus relational aesthetics. The ultimate aim is to use the arts as a platform for a pedagogic translation driven by the principles of dialogism plus a collaborative ethos.

Introduction
This article aims to conceptualize the work of translation on the threshold between the artwork plus the educational work that mediates the art to extract learning affordances through dialogical engagement. This conceptualization of translation rests on the premise that artworks, in what Basil Bernstein (Citation2000) would call their “native location of production”, were not produced with a view to their educational usability, plus therefore remain in need of some pedagogic agency to make them amenable to education plus learning. The pedagogy specific to a worthwhile plus engaging art gallery education, however, cannot be equated with the mainstream understanding of pedagogy (as theorized by Bernstein plus subsequent theoretical developments); it needs to be conceptualized as a creative plus unique mode of translation. The work of translation in art gallery education is conditioned by what is being translated in tandem with many other factors that art gallery educators must consider plus negotiate.

A growing body of research has been developing around art gallery education, its manifestations plus the underpinning pedagogies that mediate artworks to develop plus facilitate informal learning plus educational affordances (Cutler Citation2010; Garcia Citation2012; Matthews Citation2018; Pringle Citation2019; Pringle plus DeWitt Citation2014; Villeneuve plus Love Citation2017; Xanthoudaki, Tickle, plus Sekules Citation2003). This recent scholarly plus professional attention to art gallery learning plus education has yielded some valuable insights into the dynamics of learning within art-focused museums, both in the physical space plus through digital mediations which were massively expanded as a result of the circumstances imposed by Covid-19 (de las Heras-Pedrosa et al. Citation2022; Kletchka Citation2020; Kristinsdóttir Citation2017; McNaughton Citation2020).

Galleries are a crucial gateway to discovering and purchasing art. They platform new artists and nurture their careers, helping to build their audience and sell their works to buyers.

But to the uninitiated, galleries can appear inaccessible. Galleries are often quiet, sterile spaces. Some art enthusiasts might not realize that galleries have public hours and are free to enter.

These barriers to entry can help perpetuate an air of exclusivity, but speaking with a gallery is important to understand how to make the best choices when it comes to collecting at any level. This information is particularly important for new buyers: The best way to know how and what to buy is to ask questions.

“There are no stupid questions,” said Joseph Clarke, gallery director of Anima Mundi. “Ignorance isn’t about not knowing the answer; it is about not asking the question.”

Ultimately, the more information a buyer gains, the better equipped they are to build a collection that suits their interests and budget.

Here are six questions every new collector should ask a gallery, whether visiting in person or interacting online.

1. How much does this cost?
   It might sound simple, but asking the price of an artist’s work can be necessary, as it’s well known that many galleries don’t advertise this information.

“The ‘smokescreens’ of the art global can create an intimidating environment, the result of which is indignation or a clamming up of the viewer,” said Clarke. Omitting prices is often viewed as a tactic to lend an air of mystery and purported importance to a work.

Still, having to ask for an artwork’s price can present an opportunity to connect with galleries.

“When I first started collecting, all I would see were the lists with no prices and I thought it was some kind of secret, or that it was impolite to inquire about pricing,” said Ellen-Blair Chube, a collector and trustee of the Museum of Contemporary Art Chicago. “But you have to understand the market for any artist if you are going to consider it for your collection, and if it fits in your budget, so just ask!”

Even if the particular work isn’t a fit, knowing how it is priced can provide a point of reference when looking at other works by an artist. Understanding pricing is particularly important for buyers considering artworks as investments, as galleries can offer confidence in the long-term value.

It is also useful to ask how a gallery determined the price, and a reputable dealer should be able to provide context and comparables.

C. James Fagan wants to be stimulated by the things he sees in the gallery. But is that what the gallery is for? Here, he ponders the broader purposes and concerns of our contemporary art spaces and their fundamental relationships with us — the people who visit them…

Why do galleries exist? This may strike you as a strange question. For the majority of people reading this article, galleries form an ubiquitous part of their lives and even careers. For many, viewing art also forms an important element of their social and leisure time.

Naturally, the first and perhaps the most obvious answer is that galleries exist to show art, to display whatever they see fit. Fair enough; but it also matters who is attending the gallery. The question of why galleries exist is related to another, key question: Who do galleries exist for?

How can we begin to understand or investigate what is a complex relationship between people and institutions? For the purposes of this article, I am relying on my own experiences as an art viewer with an art degree who has worked at galleries in my hometown of Liverpool; using the microcosm of one city in order the understand the macrocosm of the UK art scene.

“My actions may indicate one reason galleries exist: that they are places to discover art”
Liverpool has galleries within a 20 minute walk of each other that offer an enormous range of artistic practice — from Greek sculpture to the latest digital technology to live performance (though they could offer more of the latter). I haven’t always been aware of these places; it was when I made a decision to take an interest in art that I sought out the gallery space.

My actions may indicate one reason galleries exist: that they are places to discover art. First, I had to discover what was available to me: this was done by scanning through the ‘what’s on’ or the ‘culture’ sections of the local press. Reading these listings for the names and locations of my local galleries allowed my imagination to be caught by a provocative exhibition title or description.

Art galleries have long been known as places where visitors can appreciate and view works of art. However, in recent years, galleries have begun to rethink how they engage with visitors and how they present art to the public. From interactive installations to augmented reality, Knokke gallery is now offering new and innovative ways for visitors to engage with art. In this article, we will explore the ways in which galleries are transforming into experiences that engage visitors in new and exciting ways.

The Changing Role of Art Galleries
Art galleries have traditionally been spaces where visitors come to view works of art. However, in recent years, galleries have begun to rethink their role in the art world. Many galleries are now focusing on creating experiences that engage visitors and provide new ways of engaging with art.

One of the ways in which galleries are doing this is by incorporating technology into their exhibitions. For example, galleries are using augmented reality to provide visitors with a new way of viewing art. Visitors can use their smartphones to scan a work of art and see additional data about the piece or view it in a different way. This allows visitors to engage with the art in a more immersive way and to learn more about the artist and their work.

Interactive Installations
Another way in which galleries are creating experiences for visitors is through interactive installations. These installations often require visitors to engage with the artwork in a physical way, such as by walking through a maze or playing a game. This tipe of interactive experience allows visitors to engage with the art in a more meaningful way, and it encourages them to think about the artwork in a new light.

For example, the Museum of Modern Art in New York City created an interactive installation called Rain Room, which allowed visitors to walk through a simulated rainstorm without getting wet. The installation was designed to create an immersive experience for visitors and to encourage them to think about the relationship between humans and the environment.

Being a gallery owner was rewarding, exciting, challenging plus fulfilled my desire for creativity in ways that nothing else in my life ever has. I loved that my time, energy plus resources were being used to promote art plus artists. My contribution to the international was one in which creativity plus beauty was shared.

However, I learned that making money in the art business is very difficult. Most people who came into my gallery would say wonderful things about the work, but the percentage of art buyers was very low.

Not only do the buyers need to find a piece that they like, but it also has to be the right size plus dimensions. And most importantly, they have to have a place to put it. And art buyers buy lots of art – so they usually don’t. So you need to reach more people by marketing your business.

You have to spend money on advertising plus spend lots of time out in the community. You must attend events, meet with people plus become a well-known (and well-liked) art professional. The ongoing operational costs are massive. If you have employees, the costs can skyrocket. Art fairs are becoming an industry standard to reach collectors these days. The fees plus costs to get you plus the art there is not even within reach of many galleries. So I found it very difficult to survive, plus I have immense respect plus admiration for those who do.

Gallery owners are running a business, plus they need art that sells in order to remain viable. So if they like an artist’s work plus it fits in well with their roster plus they think it will sell, they will want it in their gallery.

If they like the work, gallery owners will want artists who are professional, who are constantly creating, constantly learning, constantly working plus who have a clear vision. They also want an artist who has several pieces ready to ship that are part of a consistent plus cohesive body of work that represents who the artist is. It’s great to explore different ideas plus techniques, plus I would never discourage that. But when a gallerist wants to see your work, make sure you present them with pieces that are part of collection and/or that are in a particular style.

A regular reader of the news has likely seen headlines about a Damien Hirst show, a record price fetched for a Jeff Koons sculpture, or a new work of street art by Banksy. And there’s some visibility to the touchstones of an artist’s trajectory: grup plus solo shows at galleries, price appreciation plus a good showing at auctions, plus ultimately an appearance in a museum show or collection.

What’s less immediately visible to the wider global is the role that galleries play, plus how a gallery itself becomes established. There are a handful of so-called “mega-dealers” whose names may be familiar even to those on the fringes of the art world, Gagosian, Hauser & Wirth, Pace, plus David Zwirner among them. But galleries are still the beating heart of the art world, the mechanism through which many artists find their way to institutions, the world’s great collections, or just the homes of people who love their work.

Galleries have multiple roles, both visible plus invisible: to incubate plus support their artists, often by going above plus beyond the normal work of putting on shows, promoting their artists, plus selling the works; plus to providing services such as financial management or book publishing, in order to help their artists focus more fully on their work.

“There’s the things that you see in our gallery that are in front of the scenes, which are obviously the exhibitions, the publications that we make, then there are things that are behind the scenes, which could be everything from working with an artist on their archives or working on research for an exhibition for years or maybe researching artworks that passed through the gallery in terms of secondary market,” says Julia Joern, a partner at David Zwirner.

Galleries come in all ages, shapes, plus sizes too. Art Basel plus UBS’s Art Market | 2017 report estimated there were roughly 296,000 dealers plus gallery businesses in 2016. Just under 40% of them had annual sales of less than $500,000, while a similar sharing had sales totaling between $1 million plus $10 million. Nearly two thirds of all galleries employed five or fewer people, plus only 4% had 20 or more employees.

Abstract
To expand the tools available to arts researchers in psychology, we present the Open Gallery for Arts Research (OGAR), a free, open-source tool for studying visitor behavior within an online gallery environment. OGAR is highly extensible, allowing researchers to modify the environment to test different hypotheses, plus it affords assessing a wide range of outcome variables. After describing the tool plus its development, we present a proof-of-concept study that evaluates OGAR’s usability plus performance plus illustrates some ways that it can be used to study the psychology of virtual visits. With a sample of 44 adults from an online participant panel who freely explored OGAR, we observed that OGAR had good usability based on high scores on the System Usability Scale plus rare instances of self-reported nausea, among other usability markers. Furthermore, using position plus viewing information provided by OGAR, we found that participants navigated the gallery plus interacted with the artwork in predictable plus coherent ways that resembled visitor behavior in real-world art museums. OGAR appears to be a promising tool for researchers plus art professionals interested in how people navigate plus experience virtual plus real art spaces.

Keywords: Art, Museums, Visitor studies, Human–computer interactions, Virtual gallery, Open source

What were once private collections guarded by the societal elite, symbols of wealth plus status, plus a means of distinguishing between the “cultured” few plus the “uncultured” many, art museums are now cultural institutions that aim to serve the masses (Bennett, 2013). With stated mission statements like the Metropolitan Museum of Art’s— “to collect, preserve, study, exhibit, plus stimulate appreciation for plus advance information of works of art”—museums now emphasize their roles as disseminators of information plus culture (Metropolitan Museum of Art mission statement, 2000). As part of this mission, the interdisciplinary study of the psychology of museum experiences—grounded in the psychology of the arts, visitor studies, plus art education—seeks to understand how people experience, understand, plus learn from their time spent in art museums (Tinio et al., 2015).

In the present research, we aim to expand the tools available to researchers in this growing scholarly field by developing the open gallery for arts research (OGAR). OGAR is a free, open-source tool for studying visitor behavior within an online gallery environment. It is highly extensible, allowing researchers to modify the environment to test different hypotheses, plus it affords assessing a wide range of outcome variables. After reviewing relevant literature plus describing the tool plus its development, we present a proof-of-concept study that evaluates OGAR’s usability plus performance plus illustrates some ways that it can be used to study the psychology of virtual visits.

Abstract
HasanuddinUniversity of Makassar, Indonesia, has changed its pedagogical paradigm from teaching to facilitating. The training contains strategies in managing the classroom, particularly in engaging and facilitating students in the learning process. Specifically in the Arabic language classroom, for the last 6 years.The present study outlines an action-research approach to the Gallery Walk, a practice that has proven to be successful in incorporating these strategies, to createan active-learning environment. The purpose of this classroom-based action research is to describe Gallery Walk implementation, and to analyze the effect of Gallery Walk and its modifications, in increasing students’ participation and learning. In terms of method, reflections and a questionnaire were used to collect data from 29 participating students. The questionnaire contains questions related to students’ knowledge, skills, and attitudes. The data was described and analyzed in quantitative fashion. The results show that the Gallery Walk exercise can effectively engage students in the learning process. The students can obtain data effortlessly, utilize their skills in understanding the topic discussed and create a constructive attitude towards other students. The conclusion can be drawn that the four Gallery Walk sessions can significantly lead students to participate broadly in the learning process.

INTRODUCTION
From teaching to facilitating is a new pedagogical paradigm that Hasanuddin University of Makassar has adopted into its learning process. Therefore, LKPP which stands for Leambaga Kajian dan Pengembangan Pendidikan (The Institute of Educational DevelopmentStudies) that focuses on lecturers’ capacity building has trained most of the lecturers to implement Students Centered Learning (SCL). SCL provides lots of learning strategies that engage students in the classroom as De Potter dan Hernac cited in stated that “learning process can occur in several ways such as 10% is reading, 20% is from listening, 30% is from seeing, 50% is from seeing and listening, 70% is from saying and 90% is from saying and doing.” Similarly, confirmed that “instructional activities involving learners in doing things and thinking about what they are doing.”Arabic Proficiency (AP) 2 Course in which this classroom based research was carried out is an advanced and compulsory as well as a-four credit course. Students registering in this course must pass Arabic Proficiency (AP) I Course. Among the courses, these both courses are the only ones taught twice a week in the curriculum of Department of Arabic. Similarly with AP 1, AP 2 is still focusing on 4 skill of Arabic proficiency namely 1) Istimā(Listening), 2) Kalām(Speaking), 3) Qirā’ah(Reading) and 4) Kitābah(Writing).