I'm a sucker for exhibitions about making exhibitions! And who doesn't love a peek behind the curtain into the inner workings? A show at the Gemäldegalerie in Berlin until the end of this month focuses on the "Labels of an Exhibition"—how they changed over time and what this tells us about changing priorities. Reminds me of other shows, about nose jobs and frame games of the past...
Museum display is just the last step in an ancient object's long life. This is the topic of a student workshop I'll be leading on Saturday in Berlin's Pergamonmuseum. Das Panorama. What is selected for display? What is researched, and how? What gets left out? How is the "knowledge" that the museum finally decides to communicate created? All of these are subjective processes, despite the impression that the "knowledge" presented in museums is singular, objective, and perfectly known. As Ian Hodder famously said, "Interpretation begins at the trowel's edge"—at the moment of excavation. (And, I argue, actually before that, since excavations are sited and carried out based on decisions as well.)
As part of our exploration we'll closely examine the museum labels. I was inspired by those in the interim Pergamonmuseum because they often express a certain uncertainty or scholarly debate about the objects, which I found refreshing. Not just refreshing: it brings us to think critically, one of the most important things a museum display can bring us to do! (But I repeat myself.)
All Berlin higher-ed students are welcome! The details (in German, as the event will be):
Unsicherheit und Debatte in Museumstexten: Wissen zur Antike gemeinsam bauen
Sa / 8. 6. 2019 / 15 – 17.30 Uhr
Treffpunkt: Pergamonmuseum. Das Panorama, Besucherinformation
Keine Anmeldung erforderlich. Die Teilnahme ist für Studierende kostenfrei.
Das Format TISCHGESPRÄCH findet im Rahmen von ABOUT THE MUSEUM statt, einer Initiative des Referats Bildung, Vermittlung, Besucherdienste. Weitere Informationen: studierende.smb.museum und auf Facebook: ABOUT THE MUSEUM.
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:
I look forward to hearing the other two episodes about MoMA's operations!
Peeks behind the scenes are the best! Everyone loves a glimpse behind that institutional facade, whatever the institution. Museums are no different (see Wiseman's film on the National Gallery), and conservation in action is an increasingly popular way to give visitors a little look-see.
This case in the beautiful Ny Carlsberg Glyptoteket, Copenhagen is fondly knows as the Nasothek—the gallery of noses. (Although there are a few ears in there too.) These facial parts were once added onto ancient portrait sculptures in the modern period in order to fill in the missing parts. This was common practice in past centuries, when ancient art was considered best when flawless. Noses, as a protuberant and thus frequently knocked-off piece of sculpture, were restored by the dozens.
Nowadays, however, the principle of object care has changed. Instead of restoring ancient sculpture to make it look perfect, museums consider their primary task to preserve what they have as best they can. This means no more gluing on modern additions, rhinoplastic or otherwise. In fact, it can even mean removing those additions from previous centuries. This was the Glyptoteket's decision, resulting in a lot of loose noses rattling around in a storage box somewhere. Why not display them in a striking array and thereby tell a bit of the history of modern receptions of ancient art? Still better with a Roman portrait head next to it, its own nose and brow additions removed, thus telling most of the story at the very first glance.
The building of a large drainage pipe under Berlin's Mauerpark is a triumphant example of how simple display concepts can be transformative. Rather than making yet another annoying construction zone in the city, and this one right in at the entrance to the most popular park, the organizers decided to make it an attraction in itself. They achieved this by erecting a wooden wall around the main building area and decorating it with fun and informative panels. The biggest and most iconic is the cartoon cross-section of the pipe itself (above). The pipe introduces itself through a speech bubble: "I'm a drainage pipe with a 4.4-meter diameter"! More detailed panels describe the water system in depth. Around the corner, a spin wheel with exercise challenges on it ("do 5 pushups!" etc.) is a further attraction. Most surprising of all, you can see it all and learn more on a beautiful modern website devoted to the project! Way to go, Berliner Wasserbetriebe.
Who doesn't love a peek behind the curtains? At least when the venue is a museum, a look behind the scenes (or curtains, in the German idiom) is always thrilling. Making visible all the work that goes into readying objects for display is not only a highlight for visitors but a well-deserved kudos to the conservation teams whose hard work is rarely recognized by the public—because ideally, their work is invisible! The conservators at Berlin's Alte Nationalgalerie are now earning appreciation in a special exhibition about their three years of work restoring Caspar David Friedrich's two most famous paintings, Monk by the Sea and The Abbey in the Oakwood. Numerous series of photographs in the exhibition show the progression from yellowed, cracked, poorly-restored pieces to the radiant paintings now finally back on show. A few of the photographs even showed the conservators' coded markings and notes for planning the restoration, as well as the X-ray images they used to better understand the underdrawings and primer layers. Two full-size photographs of the unrestored paintings (seen above) allow viewers to compare the earlier with the present state (much clearer and less jaundiced!). It is an exciting story to see laid out like this—and today, at least, many people were there to enjoy 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.