Venus de Milo, Louvre Museum, Paris
Today's post is inspired by a New York Times article about the booming number of visitors to a few national art museums and the measures the museums are taking in order to accommodate such crowds (and protect the objects). While not specifically discussed in the essay, one of the issues bundled up with this phenomenon relates directly to this blog: How can a museum effectively display its collection for a whopping 9.3 million visitors per year (Louvre), or 6.7 (British Museum), or 5.5 (Vatican)?
One solution is the "Venus de Milo" approach pictured above: a capacious room containing a single blockbuster object, allowing many visitors to stand and circulate throughout the large space. Extra elbow room is especially important when so many visitors are using audio guides that lead them to spend one or more minutes looking at the object.
Another solution is the "Rosetta Stone" setup pictured below. Here the stone is displayed in the center of two intersecting galleries, protected by a glass case. This places the object in relation to the other materials nearby — in this case, other Egyptian works in stone — and therefore nicely contextualizes the piece. A concomitant drawback is the relative lack of space for the many visitors interested in such a famous piece. It's a difficult problem of spatial engineering which, if the predictions in the NYT article can be believed, will only become more pressing.
One solution is the "Venus de Milo" approach pictured above: a capacious room containing a single blockbuster object, allowing many visitors to stand and circulate throughout the large space. Extra elbow room is especially important when so many visitors are using audio guides that lead them to spend one or more minutes looking at the object.
Another solution is the "Rosetta Stone" setup pictured below. Here the stone is displayed in the center of two intersecting galleries, protected by a glass case. This places the object in relation to the other materials nearby — in this case, other Egyptian works in stone — and therefore nicely contextualizes the piece. A concomitant drawback is the relative lack of space for the many visitors interested in such a famous piece. It's a difficult problem of spatial engineering which, if the predictions in the NYT article can be believed, will only become more pressing.
Rosetta Stone, British Museum, London
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