Dr. Stephanie Pearson
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Pencil-Paper Dioramas - Museumsdorf Düppel, Berlin

12/17/2018

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Yesterday I finally made it to Museumsdorf Düppel in Berlin, an open-air museum that has been on my to-do list for years. It centers on an absolutely charming reconstruction of the 12th-century village excavated there primarily in the 1970s. The houses with reed roofs and mud walls are impressive for their craftmanship, as well as the feeling they give you of standing really and truly in a medieval village. The lightly damp, gray, freezing weather enhanced the effect. Hats off to the capable people who made it possible to live in such conditions, constructing surprisingly cozy houses and fashioning their own clothing, tools, candles, food, and on and on. Truly impressive!

As a supplement to the village, the small interpretive center is a gem. "Klein aber fein," small but fine—the description fits perfectly. One of the displays that caught my eye for being both economic and effective is the timeline: a series of small lit vitrines sunk into the wall boasts a series of colors, each vitrine framed by a different hue. These correspond to the colored bands on the timeline above, which stretches from 10,000 BC to the present day. Each vitrine holds a miniature diorama of the landschaft around the village in the indicated time period (a title for the whole wall would help convey this: Changing Landscapes, or some such). I went gaga over the grace of the dioramas—constructed of cardstock cut-outs with simple pencil drawings, they are outrageously simple yet communicative works of art.
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"Working" Podcast Features Exhibition Design at MoMA

12/12/2018

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The three latest episodes of the podcast Working (tagline: "Slate interviews Americans about their jobs") are dedicated to the work processes in the Museum of Modern Art in New York City. One of them, "Working at MoMA: How Do Exhibition Designers Do Their Jobs?," features a conversation with Lana Hum and Mack Cole-Edelsack, the Director and Senior Design Manager respectively of MoMA's Exhibition Design & Production Department. (I was lucky enough to meet Lana Hum in 2014 as part of the Center for Curatorial Leadership/Mellon Foundation Seminar in Curatorial Practice.) It's a fun conversation to listen to: both the interviewees and interviewer (Jordan) have smart things to say and seem to be having a good time. A few novel points jumped out at me:
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  • At one point Lana Hum calls her job a sort of translating, in that she and her team talk with curators to understand the vision and then get to work shaping that into a realizable form. This metaphor seems really useful for thinking about what exhibition design can be.
  • She also talked about exhibition design as a push-pull between, on the one hand, the "open space" that lets a visitor choose a path, and on the other a planned (often chronological) route through the show.
  • Before hearing it mentioned here, I had never thought about the need to get fire department approval for every new exhibition layout! But it makes sense that the emergency exits would need to be verified.
  • The penultimate question is brilliant for getting down to the essence of any job: What counts as an emergency in your job? For most of us, this is far from a life-or-death scenario; that certainly offers some perspecitve.

I look forward to hearing the other two episodes about MoMA's operations!
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    Ideas on Display
    A humble space to reflect on concepts of museum display as enacted across a wide range of subjects, countries, and approaches.

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Stephanie Pearson
steph [at] stephpearson.com