Once again, I love that the various parts of my life sometimes intersect in amazing and helpful ways.
Last week I managed to take a long stroll through the American art galleries while at work. I am ashamed to admit how infrequently I am able to visit the gallery spaces in my own museum. Because I had not visited the American art wing for such a long time, I had forgotten just how many pieces of furniture the museum owns. Not only are the pieces beautiful in their own right, but they also helped me with the collections inventory work I mentioned in an earlier post. Based on what I saw, I was able to confirm some of the identifications and date ranges I had placed on the objects with which I was working. Receiving confirmation of one's suspicions about an object can be uplifting and I will admit that I enjoyed the boost to my self esteem.
I often wonder if other museum employees neglect to visit their own museum's gallery spaces. I find myself putting the visits of for tomorrow because the galleries aren't going anywhere anytime soon. Perhaps I will make it my goal for the second half of 2011 to spend more time inside the galleries. The stuff inside them is, after all, what made me want to work in museums in the first place.
16 July 2011
04 July 2011
Wild Gardens
Yesterday my parents and I visited Longwood Gardens for the first time since my childhood. I love these sorts of "horticultural museums." I really enjoy beautiful, outdoor floral displays for the same reasons that I love paintings--they please me aesthetically. For example, take a long look at these photos:
Those individuals in charge of maintaining Longwood Gardens do amazing work. The gardens possess breathtaking beauty and we spent a very pleasant day wandering through the various sections of the grounds.
I believe, however, that the gardens miss a couple of great opportunities for historical interpretation. Perhaps the most glaring is the Peirce-du Pont House, a historic house originally built on the property in 1730. The house contains an exhibition detailing the history of the gardens and of their original owner, Pierre du Pont. The garden's story certainly needs to be told but I would have loved to have also learned about the house. A structure built so long ago deserves to be interpreted in its own right, rather than simply serving as the setting for a generic history of the gardens.
But I cannot criticize without also giving credit where it is due. Longwood Gardens has no shortage of fascinating signage, in addition to the beautiful plants and flowers. My favorite signs pointed out the various forms of Integrated Pest Management practiced by the gardens. For example, in the lily pad section of the conservatory, a small fish has been introduced to the pools of water to help contain mosquitos and other insects. The collections manager in me finds these tidbits extremely interesting. Plus, the lily pads have a beauty unlike that of most other plants.
Plan a visit to Longwood Gardens, especially if you have not visited for many years. I loved resurrecting memories of an earlier trip which I had long since forgotten.
Those individuals in charge of maintaining Longwood Gardens do amazing work. The gardens possess breathtaking beauty and we spent a very pleasant day wandering through the various sections of the grounds.
I believe, however, that the gardens miss a couple of great opportunities for historical interpretation. Perhaps the most glaring is the Peirce-du Pont House, a historic house originally built on the property in 1730. The house contains an exhibition detailing the history of the gardens and of their original owner, Pierre du Pont. The garden's story certainly needs to be told but I would have loved to have also learned about the house. A structure built so long ago deserves to be interpreted in its own right, rather than simply serving as the setting for a generic history of the gardens.
But I cannot criticize without also giving credit where it is due. Longwood Gardens has no shortage of fascinating signage, in addition to the beautiful plants and flowers. My favorite signs pointed out the various forms of Integrated Pest Management practiced by the gardens. For example, in the lily pad section of the conservatory, a small fish has been introduced to the pools of water to help contain mosquitos and other insects. The collections manager in me finds these tidbits extremely interesting. Plus, the lily pads have a beauty unlike that of most other plants.
Plan a visit to Longwood Gardens, especially if you have not visited for many years. I loved resurrecting memories of an earlier trip which I had long since forgotten.
03 July 2011
Better Together
I love when the various areas of my life intersect in unexpected and exciting ways.
First, a note on my prolonged absence from the blog. Following a health issue that took me out of commission for several weeks, I started an internship at a local historic house. I spend my days off cataloging all sorts of furniture, glass and paintings in an attempt to complete the first-ever inventory of this particular organization's collections. The emphasis in this project has been on getting the basics down on paper: a description of the object; its dimensions; and its location within the house. More in-depth analysis and research will be done later, once the full inventory has been completed.
This relatively new area of my life collided with my "real life" last weekend on a visit to Pittsburgh. I, along with my boyfriend and best friend, visited the Heinz History Center (which you should definitely check out on your next stop in the Steel City).
We strolled through a fascinating exhibition entitled Shattering Notions, which described in detail the importance of glass manufacture to the Pittsburgh region. As I studied some of the objects in the exhibition I realized that I had seen them before--when I cataloged them.
I nearly squealed with delight in the middle of the exhibition. The historic house at which I am interning has no curatorial files whatsoever. We know next to nothing about the objects in the collection or from where they may have come. And, as previously mentioned, our focus is entirely on other areas at the moment. I was naturally excited to be able to match an object to a label on a wall and take back a few valuable pieces of information. We can now correctly date several objects, as well as accurately report their manufacturer, which will eventually lead to new avenues of research.
This episode, for me at least, represents more than a strange coincidence on a weekend away or the ability to fill in gaps of knowledge for a wonderful historic house. My encounter with a piece of Pittsburgh pressed glass reminded me of something that I love about objects--they can connect us to another time and place. Just like hearing your favorite song from fifteen years ago can transport you back to the first time you heard it, seeing an object that used to belong to a grandparent can make you relive the moments you spent with them.
As museums reconsider the role that objects should play, we need to remind ourselves of the power that objects can have when used and interpreted effectively. As Stephen Conn states in his book Do Museums Still Need Objects?, objects lose relevance when "the objects cease to provide coherence to the ideas behind their collection and display, when the ideas themselves fail to coalesce into a coherent body of knowledge, and when other institutions position themselves better as producers and providers of information." When used as complements to fantastic ideas objects can help an visitor relate to an exhibition on a much deeper and more personal level than label text. Sometimes we just need a piece of pressed glass to remind us.
First, a note on my prolonged absence from the blog. Following a health issue that took me out of commission for several weeks, I started an internship at a local historic house. I spend my days off cataloging all sorts of furniture, glass and paintings in an attempt to complete the first-ever inventory of this particular organization's collections. The emphasis in this project has been on getting the basics down on paper: a description of the object; its dimensions; and its location within the house. More in-depth analysis and research will be done later, once the full inventory has been completed.
This relatively new area of my life collided with my "real life" last weekend on a visit to Pittsburgh. I, along with my boyfriend and best friend, visited the Heinz History Center (which you should definitely check out on your next stop in the Steel City).
We strolled through a fascinating exhibition entitled Shattering Notions, which described in detail the importance of glass manufacture to the Pittsburgh region. As I studied some of the objects in the exhibition I realized that I had seen them before--when I cataloged them.
I nearly squealed with delight in the middle of the exhibition. The historic house at which I am interning has no curatorial files whatsoever. We know next to nothing about the objects in the collection or from where they may have come. And, as previously mentioned, our focus is entirely on other areas at the moment. I was naturally excited to be able to match an object to a label on a wall and take back a few valuable pieces of information. We can now correctly date several objects, as well as accurately report their manufacturer, which will eventually lead to new avenues of research.
This episode, for me at least, represents more than a strange coincidence on a weekend away or the ability to fill in gaps of knowledge for a wonderful historic house. My encounter with a piece of Pittsburgh pressed glass reminded me of something that I love about objects--they can connect us to another time and place. Just like hearing your favorite song from fifteen years ago can transport you back to the first time you heard it, seeing an object that used to belong to a grandparent can make you relive the moments you spent with them.
As museums reconsider the role that objects should play, we need to remind ourselves of the power that objects can have when used and interpreted effectively. As Stephen Conn states in his book Do Museums Still Need Objects?, objects lose relevance when "the objects cease to provide coherence to the ideas behind their collection and display, when the ideas themselves fail to coalesce into a coherent body of knowledge, and when other institutions position themselves better as producers and providers of information." When used as complements to fantastic ideas objects can help an visitor relate to an exhibition on a much deeper and more personal level than label text. Sometimes we just need a piece of pressed glass to remind us.
23 February 2011
Ring Them Bells
About a week and a half ago my boyfriend and I visited what are probably Philadelphia's best-known historic sites: Independence Hall and the Liberty Bell. Since I have lived in Philadelphia for almost a year, and because fewer numbers of tourists would be around during the cold, winter months, we figured the time had come for a visit to these iconic sites. Not surprisingly, I have some thoughts to share about each.
Matt and I both agreed on a favorite between the two sites. Although I cannot speak for his opinions, I believe we both felt more connected to the Independence Hall than to the Liberty Bell. The building itself is beautiful. I particularly enjoyed the gorgeous woodwork. Although I cannot do justice to the building, here are some photos:
I had the sense of being somewhere important, in a location where something absolutely vital had occurred. Because I have previous knowledge of the process by which the Founding Fathers put together the U.S. Constitution, I found myself imagining what it must have been like. The image of the men locked in a room, roasting in the heat of a Philadelphia summer, became real to me in a way it previously had not been.
Unfortunately, the weakest part of our experience at Independence Hall was the guided tour led by an individual from the Park Service. The content of the tour was jumbled and did not present a nuanced version of the building's history. Matt and I both agreed that individuals without prior knowledge of American history would likely come away having learned very little.
The Liberty Bell Museum provided the opposite experience. I enjoyed the exhibits at the museum highlighting the history and importance of the Liberty Bell. Although the signage contained copious amounts of text I never felt overwhelmed or bored. The information provided a nuanced and fairly complete history of the Liberty Bell.
However, when it came time to stand in front of the Liberty Bell, this supposedly iconic piece of American history, I felt underwhelmed. I felt more attached to the Bell as a symbol of other things than as an object.
That said, the Bell has been perfectly situated in a circular glass room looking out at Independence Hall. I found the setting pretty enough to enhance my otherwise unremarkable experience of the Bell.
I am in no way saying that one should opt out of a visit to either Independence Hall or the Liberty Bell Museum. Please go! I would, however, recommend visiting during the winter so that you avoid the crowds of people that swarm over Independence Mall during the summer months. I would also suggest tempering your expectations. Not everyone will feel a deep connection to these sites, despite their cultural and historical significance.
Matt and I both agreed on a favorite between the two sites. Although I cannot speak for his opinions, I believe we both felt more connected to the Independence Hall than to the Liberty Bell. The building itself is beautiful. I particularly enjoyed the gorgeous woodwork. Although I cannot do justice to the building, here are some photos:
I had the sense of being somewhere important, in a location where something absolutely vital had occurred. Because I have previous knowledge of the process by which the Founding Fathers put together the U.S. Constitution, I found myself imagining what it must have been like. The image of the men locked in a room, roasting in the heat of a Philadelphia summer, became real to me in a way it previously had not been.
Unfortunately, the weakest part of our experience at Independence Hall was the guided tour led by an individual from the Park Service. The content of the tour was jumbled and did not present a nuanced version of the building's history. Matt and I both agreed that individuals without prior knowledge of American history would likely come away having learned very little.
The Liberty Bell Museum provided the opposite experience. I enjoyed the exhibits at the museum highlighting the history and importance of the Liberty Bell. Although the signage contained copious amounts of text I never felt overwhelmed or bored. The information provided a nuanced and fairly complete history of the Liberty Bell.
However, when it came time to stand in front of the Liberty Bell, this supposedly iconic piece of American history, I felt underwhelmed. I felt more attached to the Bell as a symbol of other things than as an object.
That said, the Bell has been perfectly situated in a circular glass room looking out at Independence Hall. I found the setting pretty enough to enhance my otherwise unremarkable experience of the Bell.
I am in no way saying that one should opt out of a visit to either Independence Hall or the Liberty Bell Museum. Please go! I would, however, recommend visiting during the winter so that you avoid the crowds of people that swarm over Independence Mall during the summer months. I would also suggest tempering your expectations. Not everyone will feel a deep connection to these sites, despite their cultural and historical significance.
29 December 2010
Identity Crisis
Another post? So soon?
Yes! I came across this article in the NY Times about identity museums. The examples cited by Mr. Rothstein are instructive and I found his argument interesting.
I should add that I found the article only because of the great people at Global Museum, who send a fantastic e-mail once a week with lots of museum tidbits. They also have a very helpful job board. Check it out!
Yes! I came across this article in the NY Times about identity museums. The examples cited by Mr. Rothstein are instructive and I found his argument interesting.
I should add that I found the article only because of the great people at Global Museum, who send a fantastic e-mail once a week with lots of museum tidbits. They also have a very helpful job board. Check it out!
27 December 2010
With Tired Eyes, Tired Minds, Tired Souls, We Slept
You may have noticed that I have slacked off a bit lately, especially when it comes to commenting on museums. The reason? I have not visited any museums or historic sites for quite a while.
Why, you ask? I have been pondering the same question. I have certainly not yet exhausted the list of possible sites. Philadelphia and the surrounding communities have many museums and historic sites that I have not yet visited. In fact, there are probably more than I even know about.
The reasons for my recent failures are several. The first reason is one shared by many individuals and it is financial. Sometimes visiting museums and historic sites is expensive. Between transportation, parking and admission costs, a visit can sometimes cost more money than I feel I can spare. But many historic sites in Philadelphia are very inexpensive, or even free. So why the absence of any visits?
I am ashamed to say it but lately I have just not been in the mood to visit museums. I spend most of my time in a very large museum smiling at people and letting them know where they can find the bathrooms. I often visit new exhibitions and walk through the galleries. Sometimes the last thing I want to do on my day off is visit another museum. Reading even more label text feels oppressive. My initial enthusiasm about being in a new city has worn off and I do not feel the same pressure to make the trip to Center City on a day when I do not have to do so for work. Combine this feeling with the craziness of the holiday season, with all of the extra shopping trips and time spent wrapping gifts and I just do not have the time.
Shameful, I know.
So I offer my New Year’s Resolution to you. I will strive to visit the sites I have been putting off and to rekindle my interest in other institutions. Wish me luck.
Why, you ask? I have been pondering the same question. I have certainly not yet exhausted the list of possible sites. Philadelphia and the surrounding communities have many museums and historic sites that I have not yet visited. In fact, there are probably more than I even know about.
The reasons for my recent failures are several. The first reason is one shared by many individuals and it is financial. Sometimes visiting museums and historic sites is expensive. Between transportation, parking and admission costs, a visit can sometimes cost more money than I feel I can spare. But many historic sites in Philadelphia are very inexpensive, or even free. So why the absence of any visits?
I am ashamed to say it but lately I have just not been in the mood to visit museums. I spend most of my time in a very large museum smiling at people and letting them know where they can find the bathrooms. I often visit new exhibitions and walk through the galleries. Sometimes the last thing I want to do on my day off is visit another museum. Reading even more label text feels oppressive. My initial enthusiasm about being in a new city has worn off and I do not feel the same pressure to make the trip to Center City on a day when I do not have to do so for work. Combine this feeling with the craziness of the holiday season, with all of the extra shopping trips and time spent wrapping gifts and I just do not have the time.
Shameful, I know.
So I offer my New Year’s Resolution to you. I will strive to visit the sites I have been putting off and to rekindle my interest in other institutions. Wish me luck.
09 December 2010
To Deaccession or Not to Deaccession?
According to this piece published in the New York Times earlier this week, the Philadelphia History Museum has been selling pieces from its collection to finance the first major renovations to the building since the 1940's.
The museum desperately needed to weed out some pieces from its collection. It did not have the space or the budget to care for a collection of that size. The building also needed to be renovated and updated. (Nancy Moses hints at the difficulties faced by the museum in her book Lost in the Museum: Buried Treasures and the Stories They Tell.) The museum would need to raise incredibly large sums of money in order to complete these upgrades.
I sympathize with the museum's argument that the money obtained from the sale of various historic objects goes entirely toward ensuring the preservation and safety of what remains in the collection, but the whole process leaves a sour taste in my mouth. This situation is different from other institutions making news recently for deaccessioning objects to pay for daily operating costs. I also recognize that the intentions of the museum's staff are very good. They are attempting to do what is best for the museum and its collection. But did no other options for raising money exist?
According to the "News" section on the museum's website, the museum has received various grants and other sources of funding. I find it hard to believe that these sources, as well as individual donors, were tapped before resorting to auctioning off parts of the collection to the highest bidder.
I fear that deaccessioning has become, for many museums, an easy way to fund projects that might otherwise be hard too expensive or difficult to finance rather than a means of acquiring better or more representative pieces for the collection. Deaccessioning should not be the means by which a museum funds its daily operations or its renovations.
The museum desperately needed to weed out some pieces from its collection. It did not have the space or the budget to care for a collection of that size. The building also needed to be renovated and updated. (Nancy Moses hints at the difficulties faced by the museum in her book Lost in the Museum: Buried Treasures and the Stories They Tell.) The museum would need to raise incredibly large sums of money in order to complete these upgrades.
I sympathize with the museum's argument that the money obtained from the sale of various historic objects goes entirely toward ensuring the preservation and safety of what remains in the collection, but the whole process leaves a sour taste in my mouth. This situation is different from other institutions making news recently for deaccessioning objects to pay for daily operating costs. I also recognize that the intentions of the museum's staff are very good. They are attempting to do what is best for the museum and its collection. But did no other options for raising money exist?
According to the "News" section on the museum's website, the museum has received various grants and other sources of funding. I find it hard to believe that these sources, as well as individual donors, were tapped before resorting to auctioning off parts of the collection to the highest bidder.
I fear that deaccessioning has become, for many museums, an easy way to fund projects that might otherwise be hard too expensive or difficult to finance rather than a means of acquiring better or more representative pieces for the collection. Deaccessioning should not be the means by which a museum funds its daily operations or its renovations.
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