What a stroke of good luck when a major credit card company uses your museum as the backdrop for its billboards! This advertisement appears right at the entry to the security check in Berlin's Tegel Airport, so it also has a captive audience. I wonder if the Bode Museum worked with MasterCard in order to get this exposure. Certainly the museum is working hard to expand its reach—particularly to a younger crowd, as shown by its new Instagram project.
Another element that struck me in the American Alliance of Museum's 2015 list of prizewinners in exhibition design and label-writing—beyond the two labels highlighted in the last post—was a diaphanous golden curtain. It appears in the AAM's photo of a gallery in the exhibition Gorgeous, which showed at the Asian Art Museum of San Francisco in 2014. Although it received no special mention by the AAM (this gallery was singled out for a label, not exhibition design per se), it is a remarkable feature. Is it tinsel? No, it hangs much too orderly for that. Strings of beads? Perhaps. But this is no bead curtain from a 70's hemp shop: it is slippery and glowing, enticing the visitor to approach this warm, silky wall. It serves as a divider in the space while also allowing a view through into the next—both providing structure and luring the viewer further. Considering that bead curtain technology has been around for millennia (see this bead net dress from c. 2400 BC), it's almost surprising that this technology doesn't crop up in museums more often (although fragility must go some way toward explaining this).
Every year the American Alliance of Museums confers awards for great exhibition design and label-writing (among other categories.) The 2015 lists are out! You can see the former here as a quick list and the latter here in a more expansive format with photos and descriptions. Of the many worthy entries, my personal favorite was a label by the Minneapolis Institute of Arts for the Zulu beer pot pictured above. (You might want to check it out in the MIA's beautiful online catalog, which is not only sleekly designed but includes audio clips and free image downloads.) As reproduced on page 6 of the AAM report, this label brings out the object's visual qualities and social importance at once—certainly deserving its prize.
My second-favorite label appears on page 9: an outdoor panel at the La Brea Tar Pits. It even has something in common with the beer pot label: vivid opening lines. Who could refuse to read further after "The stinky dead mastodon was irresistible" or "How is brewing beer like growing babies?"
The German Archaeological Institute recently announced a new museum opening in Wukro (Wuqro), Ethiopia. This museum houses archaeological finds from the area, with one highlight being the 8th- to 6th-century BC sanctuary of a moon god. The altar and channel for libations is reconstructed in the museum (above). Just as striking as this reconstruction is the architecture of the museum building itself: it dosn't just recede into the background, but acts as part of the display. Its massive stone walls accentuate the objects more powerfully than the usual flat painted wall surface; they are a beautiful extension of the display.
To find out more: this document (in German) explains the museum project, including diagrams of the building, and this website presents nice pictures of the galleries, signage, and festive opening ceremony.
Once a month the Käthe-Kollwitz Museum in Berlin offers a lunchtime tour by the director, Dr. Iris Berndt, and yesterday's provided the extra motivation for my first visit to the museum. Standing in the first room of the ground-floor galleries, waiting for the tour to assemble, I was struck by the "word cloud" on a wall right next to the entrance. Like the automatically generated word clouds on the Internet, this collection represents thought trends in a wide set of "users" (clustered around the name of the artist, nicely emphasized with extra lighting). But unlike the digital word clouds, these words have been carefully selected to educate. As Dr. Berndt explained, they all represent concepts widely understood to apply to the great German artist Käthe Kollwitz—but several of them are problematic or even false. By marking these four terms with question marks—Feminist? Jewish? Communist? An artist who depicts suffering?—the display indicates that these preconceptions need to be reexamined and possibly discarded. This seems to me a very simple yet effective way to ease a visitor into the experience to come: several key themes are named right at the beginning, setting the tone for the subsequent galleries and helping a visitor to frame the individual objects; and just as importantly, it introduces the idea of questioning stereotypes, clichés, and pat explanations. For such a complex, richly-textured life and oeuvre as Kollwitz's, this strikes just the right first note.
An article in the New Yorker alerted me to a current exhibition at The Metropolitan Museum, specifically in the newly-reopened Costume Institute. It takes as its focus the fashion figure Jacqueline de Ribes and presents her clothing designs in a number of displays, all lovely—but the one that particularly caught my eye is shown above (and linked through the picture; just click on it to see the original slideshow). Using reflective metal (aluminum?) as the backdrop and flooring for these dresses is a simple yet extremely effective way to emphasize the colors and reflect light upon them without distracting from them. As a display solution, in fact, it has much in common with the clothing designs themselves: it is deceptively simple, quite cunning, and above all elegant.
Ideas on Display
A humble space to reflect on concepts of museum display as enacted across a wide range of subjects, countries, and approaches.