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.
Posted in aesthetics, architecture, audience, aura, collections, design, exhibition, knowledge, media, natural history, personal, science, specimens, storytelling, technology
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.
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?
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!
Posted in aesthetics, architecture, archive, art, audience, aura, collections, curator, design, exhibition, experience, fun, history, interactive, knowledge, senses, society, trends
This 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.
Posted in art, aura, collections, economics, exhibition, identity, market, natural history, science, specimens, treasure
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.
The tenement is a New York City Museum that tells the stories of immigrants who loved in 97 Orchard Street, a tenement built in 1863 on Manhattan’s Lower East Side by a German named Lucas Glockner and it was home to nearly 7000 working class immigrants. These immigrants faced challenges that we understand better today; specially with the economic and moral crisis we are confronting: making a new life, working for a better future, starting a family with limited means. This museum tells their stories, the stories of the families that lived here; how they lived, what they accomplished and where did they came from. The second you enter the building the museum takes you to the days were there was no electricity inside the building and slowly take you through the years in a casual and very interactive way.
Ruth Abraham, an historian and social activist wanted a museum that honored America’s immigrants; but she accomplished much more. The museums mission: “The Tenement Museum promotes tolerance and historical perspective through the presentation and interpretation of the variety of immigrant and migrant experiences on Manhattan’s Lower East Side, a gateway to America”.
97 Orchard was found in ruins, after it being abandoned for over 50 years, it took a long time to gather everything together, combing through archives, compiling evidence about tenements and their lives; but after several years of research the museum began the task of restoring apartments and in 1992 they opened the first restored apartment, the 1878 home of the German-Jewish Gumpertz family. Now, they have restored 6 apartments and are looking into the future with a lot of other new projects that will expand the ideas of tenements now-a-days. Every corner of this museum is amazing, a space were you let go your imagination and go back in time. It’s a beautiful time capsule in the Lower East Side.
It’s a great and amazing experience that everyone should visit.