By GAIL GREGG [ARTnews] – Just a few years ago, a visitor curious about Frank Lobdell’s 15 April 1962, in the Oakland Museum of California, could have scanned its wall label to read this description of the painting: “A tightly coiled form struggles against the confines of the canvas. Thick paint, hot colors, hard lines, and a gouged surface reinforce the sense of uneasiness. They express the artist’s view of the human condition as a struggle for meaning and dignity.”

But in the four years since that text was written, curators at the Oakland Museum and countless other art institutions have initiated a quiet revolution in the way they engage and converse with visitors about the treasures in their care. These institutions are working hard to move away from what Graham W. J. Beal, director of the Detroit Institute of Arts, calls “the priestly voice of absolute authority.” Their aim now is to provide information and context about the works—and then encourage people to respond to them in their own way.

The Lobdell label was one of many given a makeover in conjunction with the reopening of the Oakland Museum. It now reads: “The horrors of Frank Lobdell’s firsthand experiences of World War II affected him deeply. With roughly coiled lines, intense colors, and a scabrous surface, Lobdell seems to be expressing the struggle of humankind, as raw paint strokes metamorphose into gnashing teeth in headless jaws.”

Gone are the formal language about painting and the pronouncement about Lobdell’s intentions.

Continued at ARTnews | More Chronicle & Notices.