Just as physical aspects of display ideally promote effective communication, so can the reverse be true. So I pricked up my ears when this blog post from the vibrant We Are Museums group reported on the British Museum using the app Periscope to give a virtual tour of a special exhibition (embedded above). As a mode of global communication based on visual material, Periscope is a logical next step to Instagram: succinctly defined by the British Museum website, "Periscope is an app from Twitter which streams video direct from a smartphone to a global audience online." The user gets to select which feed she wants to watch, as if looking through the eyes of another user anywhere in the world. Although it was released 10 months ago, the WAM blog post points out that only a few museums have harnessed its potential to broaden their global audiences; but it seems likely to grow in popularity. I wonder what the very globally-oriented and social-media-wrangling Met might decide do with Periscope.
Let's return to the splendid gallery of minerals and gems in the Carnegie Museum of Natural History to talk about shelving technology. (In a previous post we ogled the dramatic lighting that makes the objects sparkle like, well, jewels!) These shelves are designed on a simple principle: cables stretched from the bottom to the top of the case are fitted with small steel cylinders that can slide along them as well as clamp onto a corner of a glass shelf, allowing the shelves to be adjusted to an infinite range of heights. Here they are smartly deployed in a case with a glass front and back, so that you can look right through; the minimalist shelving helps this unobstructed view. The result is beautiful as well as clever—if not exactly transferable to earthquake country!
Last week the six powerful arches of the Kimbell Art Museum (Forth Worth, TX) entered my life as if a Piero della Francesca background had infiltrated my TV screen. Although they make only a brief cameo in the documentary film My Architect, which centers on the architect Louis Kahn (you can see clips of it here), their design is elegant, unusual, and—especially in light of these two qualities—astonishingly simple. From the outside, their length and clean lines seem to exaggerate their recession into space, as if perspective holds unusally strong sway over this building. From the inside, meanwhile (shown in the Kimbell's photo gallery), the barrel vaults are cunningly transformed into pointed arches by unbroken banks of lights, curving outward like a pair of mile-long petals opening down the length of each vault. The slabs of cement walls stand just out of line with the bottoms of the vaults as if independent structures. All in all, the architecture manages to harness the strength of brutalism and the grace of classicism simultaneously. The space it creates for the art is remarkable: understated, unprepossessing, a perfect backdrop—and yet utterly captivating you once you start looking at it.
Ideas on Display
A humble space to reflect on concepts of museum display as enacted across a wide range of subjects, countries, and approaches.