A current exhibition at the Getty Center highlights precisely those things we usually don't look at in exhibitions: frames! It's a wonderful subject for a show, touching on questions of taste, stylistic development, craftsmanship, and even the psychology of frames as a concept—for instance, how do they achieve their goal of setting off something else without showing off themselves? Or, taking a look at these ostentatious Louis Style frames, are they in fact meant to show off? The answers to these questions are as intriguingly socially-, historically-, and culturally-dependent as any question about the art within the frames. (You can see a behind-the-scenes slideshow of the Getty exhibition here.) One of my all-time favorite articles in the New Yorker (subject of a previous post) addresses frames in the modern museum, reflecting on the considerations in picking the right frame for a piece, who makes the aesthetic decisions and how, and of course who makes the frames.
This beauty of a display is in the Harvard Semitic Museum. Never before had I seen such creative use of a single color of paint applied to a wall to enhance an array of objects. The objects in question are ancient amphorae, perfect for a wall-mounted display because they are large — taking up a good amount of the large vertical space — and tough, requiring no special climate control or protective glass case. Taking the extra step to paint them into an ancient ship is a truly inspired move that works on several levels:
Ideas on Display
A humble space to reflect on concepts of museum display as enacted across a wide range of subjects, countries, and approaches.