Category Archives: aura

Simplicity is Key

After Monday’s lecture on technology within the museum, I saw this on a walk and it made me stop and think about the simplicity I seek within museum walls.  Everyday I walk (as I know everyone else in the class does too) past the light store- Filaments.  The store, located near Parson’s on 13th Street, is filled to capacity with light bulbs, stands, and shades. I know this is a stretch, but every time I walk past the store, I always think of the Hall of Biodiversity located in the American Museum of Natural History.  The Hall of Biodiversity is laid out in a similar manner, it is crowded, colorful, and completely attention-grabbing.  There is a very small presence of technology, making the visitor rely almost solely on the presentation of the plants and animals.

If I said I adored this area of the museum, it would be an understatement.  Every visit I am pleasantly overwhelmed by the information and models presented, and I always learn something new.  I really appreciate the simplicity of this Hall, and I find it refreshing that I find myself thinking of the museum when I see things as simple as a store front.

This is something museums must strive for-  a seamless transition between spaces.  Museum learning cannot stop once a visitor leaves the confines of the institution.  I applaud the Hall for it’s simplicity.  If it was only technological displays, instead of the appropriate combination that it does have, I doubt it would make as strong as impact on its viewers.

Ryan Massey

Steven Conn Podcast

Here is a podcast interview with Steven Conn, who we read in class this week. The conversation is based around his book “Do We Still Need Objects?” and its pretty interesting to hear his views. I thought that some of the class might enjoy hearing more about his thoughts.

Jess Petersen

Don’t forget the real artefacts!

It seems there is a very real danger of losing touch with the real objects and artefacts that are the essence of the museum. With the rise of digital media and the increasing investment in the online and interactive presence of museums, people becoming less inclined to interact with the real objects. As referred to in the ‘Themes and Threads’ of this course the status of the object is under threat. I would suggest that we need to reconnect with the objects around us whether in a museum or not in order to develop an awareness of their value and meaning. The book How to Be an Explorer of the World: Portable Life Museum by Keri Smith presents a playful way to do this. It contains a series of ‘explorations’ or assignments that challenge the reader to interact with and collect the objects in their environment and create personal museum.

The answer to Stephen Conn’s book title and provocative question: Do Museums Still Need Objects? has to be YES, right?

RH

The Latest Word: Spaces of Experience

Charlotte Klonk's "Spaces of Experience"

The latest word in display theory was just released by Yale University Press. As in two weeks ago. Charlotte Klonk’s Spaces of Experience: Art Gallery Interiors from 1800 to 2000 locates the development of art gallery interiors in the broader history of experience and perception. It looks like an interesting read, and may be helpful in guessing what comes next!

Jenny F.

Evolution: Science and Art for Sale in SoHo

evolution and curiosityThis store has been a landmark in Manhattan’s SoHo art district since 1993; it “sells unique natural history collectibles usually seen only in museums. These include butterflies and beetles, fossils, seashells, skulls and skeletons, medical models, and tribal art.” More here.

The second I walked into this store it immediately reminded me of the Cabinets of Curiosity; the way the objects are presented and the whole store is structured is similar to an early museum. For those of you who are not familiar with the Cabinet of Curiosities also known as Cabinets of Wonder, or Wonder-Rooms [Wunderkammern], these were encyclopedic collections of objects whose categorical boundaries were yet to be defined in Renaissance Europe . Modern terminology would categorize the objects included as belonging to natural history, geology, ethnography, archaeology, religious or historical relics, works of art and antiquities. It was regarded as a microcosm or ‘theater of the world’, and a ‘memory theater’.

Peter Thomas stated about Charles I of England’s collection that these were “a form of propaganda”, only for the aristocrats and only some could afford having them. Besides the most famous, best documented cabinets of rulers and aristocrats, members of the merchant class and early practitioners of science in europe formed collections that were in fact the precursors to public museums.

Clarisa Llaneza

Indian Halloween at NMAI

On Saturday, the Coatlicue Theater Company performed in the atrium space of the museum, in celebration of The Day of the Dead. From my understanding, they had several performances. I caught a fifteen minute performance, where Natives danced barefoot to the beat of two drums, with decorated in musical objects and elaborate masks. I wondered if their movement was choreographed, but after several minutes I realized the outer circle of people followed the movements of three leaders in the center. The sound was the most powerful aspect of the performance; the vibrations from the drums, chanting, and maracas echoed off the high ceilings. It was the first time I experienced the energy of a pow wow in person. This group of cultural activists/performers also created a participatory experience for visitors, inviting the crowd to join them in a dance. Business men and women, tourists and children moved around the exhibition space with joined hands. This performative, personal interaction with visitors expressed traditions and practices of the Native culture in ways a static exhibition could not.

vancj574ill

Locating Masterpieces

I went to the Met yesterday and I had two experiences that so well illustrated the post by Ryan concerning object reproduction as discussed in the Lippman article. It also pairs well with the concept of putting objects on display in context.

Part I: The Vermeer Exhibit

assetimage.jspAs many of you are likely aware, The Milkmaid , an iconic painting by the Dutch artist Vermeer, is now on exhibit at the Met along with the 5 Vermeers in the Met’s collection. The Milkmaid has not left its home, the Rijksmueum in Amsterdam, in 70 years! Talk about having to travel the world to see all of the greatest hits in the history of art…

When I arrived at the exhibit, The Milkmaid was surrounded by many more spectatorsthan those Vermeers owned by the Met. And who could blame us? I have no idea when will be the next time I’ll be in Amsterdam. And the painting is exquisite. So were the other 5 Vermeers in the Met’s collection which were displayed alongside it.

The funny thing was, I HAD seen The Milkmaid before. (At the Rijksmuseum obviously; I am not over 70 years old.) But I hadn’t really remembered it was the Milkmaid I saw there anymore than Love Letter or Woman Reading a Letter which are also in Amsterdam. But that didn’t really matter to me. I’m not an encyclopedia but I still enjoy seeing great paintings. Reproductions are never replacements when it comes to enjoying the technique of masterly painting.

But this is where it gets interesting; there are only 36 paintings attributed to Vermeer (plus another 30 that MIGHT be by him…)

The Met had an entire wall with reproductions of these 36 painting in a grid. Because so many of Vermeer’s paintings are recognizable (if not iconic), it was incredibly interesting to study which of these painting were located in which museums around the world! I was endlessly amused to see a reproduction and think to myself “oh, I’ve definitely seen this one, it must be at the Rijksmuseum in Amsterdam” – and then check the legend to discover it was owned by a museum I had never visited!

In summary:

1: Because of the proliferation of reproductions in books and online, it can be incredibly challenging to remember which things we actually have seen years ago on vacations. The question is whether this makes going to museums meaningful at all. (I think so: it is all about the entire experience of visiting one which I will get to later. And in the case of painting at least – being able to examine painting technique in person)

2. Museums’ collections are no doubt assets, but they may also devise their own assets by making the experience of seeing their objects a meaningful and educational experience.
I thought the grid of Vermeer reproductions was such a simple, but incredibly effective tool to communicate just how limited in scope Vermeer’s work is, and it was so fascinating to compare the similarities between all of his paintings, while highlighting those that did not conform to his standard compositions.

Part II: The Quest for Madame X

Sargent_MadameXMadame X by John Singer Sargent, certainly an iconic, memorable painting, was recently located in the European painting and sculpture galleries. This was somewhat problematic as Sargent is an American artist. On the other hand, it was displayed along other American and European full-length portraits in a similar, soft brushy technique. In my opinion, it was an absolutely amazing pairing of paintings – my favorite part of the entire museum at the time!

The Met has recently remodeled their American Wing (we discussed this earlier in reference to the new interactive screens in the Period Rooms.) Though their Period Rooms are “up and running” for the most part, the installation for many American paintings and decorative arts is not completed. As a compromise, these objects are labeled and displayed in a (for lack of a better word) cramped storage room that is open to the public.

They moved (as far as I could tell) all of their American paintings that were formerly in the European wing to their temporary “open to the public storage.” My friend and I were determined to see Madame X and were not convinced the Met would deign to keep her in this storage room, but a couple guards insisted she was there.

We looked and looked all over this storage room and were about to give up, when we noticed a couple in the corner closely examining a painting. There she was! Unframed, with maybe 3 or 4 feet of room to stand away from her. And of course a lovely glare on the display case. To think that this painting was recently displayed so prominently, between Manet paintings even. She could be seen maybe 60-80 feet away, through two arched doorways! Insane to think about…

In Summary:

1: Seeing an object in context is obviously one of the most important things a museum can execute. It is a complicated issue. Now Madame X is placed alongside other American objects. Does this do the painting justice when she is displayed so poorly? Obviously she will be much easier to see when the rest of the American Wing is remodeled.

But even so – the question is really should she be paired alongside other full-length portraits, regardless of nationality? Or only along fellow American full-length portraits?

2: In is so interesting when realizing that The Milkmaid is certainly as prolific an image as Madame X. Yet right now, as I type, they are both under the same roof. One is having people huddled around it, and the other is lost to the world.