No photography allowed in the exhibits at the National Archives?
Last weekend I went to see “Spirited Republic,” a temporary exhibit at the National Archives about the history of alcohol in the United States. I’m interested in the history of food and knew the Archives would dig up some interesting materials. It was a worthwhile visit but ugh, right at the entrance is a sign declaring “no photography.” This isn’t unusual for temporary exhibits because they may contain materials that are protected by copyright or have objects on loan. In this exhibit, however, everything was drawn from the collections of the Archives or had fallen out of copyright. If I went around the building to the Research Room, I could retrieve any of the items on display and make photographs without question. Secondly, most of the items are historic governmental or administrative documents, which don’t encourage selfies or other distractions. Photographs would most likely be taken by people who were really interested in the subject and wanted an image for reference. If they’re worried about light damage, people can be warned not to take flash photos (and studies by conservators show that flash photography has to reach excessive levels to cause significant damage, so this is usually an unfounded concern). If they’re worried about security, everyone has already been screened in the usual DC way and guards are posted throughout the exhibit. Finally, photography is one of the only areas of creative activity that’s growing in the US (bucking the declines in sewing, painting, pottery, or music according to studies by the National Endowment for the Arts) and the Archives has a rich trove of content for inspiration (and it helps publicize their exhibits and collections). The “no photography” makes absolutely no sense at the National Archives. Instead, the National Archives should assume that photography will be allowed unless there are specific and legitimate reasons not to do so. Just follow the same rules as in your Research Rooms.
Prohibitions on photography isn’t the only stumbling block to public access and historical interpretation at the National Archives–I’m sensing a growing use of Continue reading →
Jane Addams Hull-House Museum by Brandon Bartoszek
The May 2015 issue of the Public Historian was just released and provides a dozen articles related to historic house museums. Lisa Junkin Lopez, associate director of the Jane Addams Hull-House Museum and guest editor of this special issue, provides the criteria that helped her select the articles and her vision of historic house museums:
Though a number of sites have turned to revenue-generating activities like weddings and farmers’ markets to stay afloat, rigorous historical content has not necessarily been quashed in favor of parlor room cocktail hours and heirloom tomato beds. Many sites have recommitted to the project of excavating their own histories, digging deeper to find relevance with contemporary audiences and identifying new methods for engagement along the way.
The individual essays are case studies of various projects at historic house museums, but many question and even break the basic assumptions of museum practices and historic preservation standards. This shift will need to be watched because Continue reading →
The Direct Care Task Force met during the Alliance annual meeting in Atlanta to discuss the results of the opinion survey conducted in February and to frame the forthcoming White Paper. Their lively and thoughtful discussions covered discipline-specific issues, philosophies and viewpoints, and frequently went back to the topic of financially motivated deaccessioning.
Representatives from New Knowledge, the non-profit think tank and planning group that conducted the survey for AAM, presented their findings and analysis of the data.A very broad range of museum types and job functions were represented by the survey’s 1258 respondents.
• Nearly three quarters of the respondents identified their primary role in the museumindustry as responsible for Collections (74.1%) while a quarter (24.4%) hold executive office. Nearly all the remaining respondents hold primary roles that are either executive or managerial; a handful are in other roles.
• The types of museum participating broke down as: History 32%; Art 28%; Specialized, Multi-disciplinary or visitor center 17%; Natural History 11%; Science/Technology 5%; Arboretum/ Botanical or Public Garden 4%; Children’s / Youth 2%; Aquarium/Zoo 1%.
Before seeing the results, the Task Force hypothesized that a respondent’s position in an organization and the discipline of participating institutions would influence the outcome of the survey. However, the analysis found no statistical differences. In examining both the open-ended responses and general ratings, it appears that respondents were most likely considering their audience, the Alliance, and answering altruistically as professionals in the field rather than as representatives of a particular disciplinary viewpoint.
Survey results showed 1) a few areas of consensus from a statistical perspective and 2) a vast gray area. The most common of the open-ended final comments expressed appreciation for the timeliness of the survey and the need for resolving the parameters for direct care. As a result, the Task Force focused on identifying guiding principles and criteria for decision-making, not creating a definitive yes/no list or a singular definition of “direct care.”
The survey results provided the Task Force with a useful scan of the attitudes on the issue of direct care and acquisition costs, from a wide variety of viewpoints. They will inform the White Paper to be released in the spring of 2016. The Task Force agreed that the White Paper should not be prescriptive but should clarify the ethical issues surrounding the topic of direct care and provide guidance for museums in their decision-making.
The Active Collections group is developing a new model to streamline the deaccessioning process, but they need information about current practices at house museums and historic sites to figure out how to best go about this. If you’d like to share what’s happening at your institution as well as your thoughts on the process and impact of decessioning, please take their online survey. This is part of a field-wide survey, so we really want to be sure historic sites and house museums are well represented. To learn more, visit ActiveCollections.org.
I’ve just returned from a week-long study trip to the Netherlands, a whirlwind visit that included nearly two dozen museums and historic sites, thanks to the MuseumKaart. This card provides free (and sometimes discounted) admission at most museums in the Netherlands for a year. It can be purchased at any participating museum for €55 and although it was a lot of money to pass over on my first day, I received it back quickly because admission fees range from €5 (Edam Museum) to €17.50 (Rijksmuseum). As a museum geek, they definitely lost money with me. Even better, it’s good for a year, unlike the 1-3 day “I am Amsterdam” card, so there’s no rush. The card not only saved me money, but encouraged me to see places I wouldn’t ordinarily visit, such as the Museum of Bags and Purses or the Willet-Holthuysen Museum.
My week in the Netherlands was provocative and I’ll be sharing some of the best and most interesting experiences in the coming weeks. In general, museums and historic sites in the Netherlands seem to:
In this 3:35 video, The Verge interviews Aaron Cope, the head of engineering, about the new high tech exhibits at the Cooper Hewitt Museum, which is in the former home of Andrew Carnegie and part of the Smithsonian Institution. The Cooper Hewitt closed for the last three years for an extensive renovation to imagine a museum that was part of the Internet and served as a bridge to their huge 130-million-object collection.
Historic New England presents its annual Program in New England Studies(PINES), an intensive week-long exploration of New England from Monday, June 15 to Saturday, June 20, 2015. PINES includes lectures by noted curators and architectural historians, workshops, behind-the-scenes tours, and special access to historic house museums and collections. The program offers a broad approach to teaching the history of New England culture through artifacts and architecture in a way that no other museum or historic site in the Northeast can match. It’s like the Attingham Summer School as a week in New England.
Examine New England history and material culture from the seventeenth century through the Colonial Revival with some of the country’s leading experts in regional architecture and decorative arts. Curators lecture on furniture, textiles, ceramics, and art, with information on history, craftsmanship, and changing methods of production. Architectural historians explore architecture starting with the seventeenth-century Massachusetts Bay style through the Federal and Georgian eras, to Gothic Revival and the Colonial Revival.
On April 26-29, 2015, the Preservation Society of Newport County (aka the Newport Mansions) is hosting a symposium on the cultural connections between the North and South from the Colonial Period to the Gilded Age as seen through furnishings, silver, textiles, painting, architecture, and interiors. Scholars include:
Daniel Kurt Ackerman, Associate Curator, Museum of Early Southern Decorative Arts
Registration is $600 and includes an opening reception at Rosecliff (1902) and dinner in the Great Hall at the Breakers (1895). Scholarships are available to undergraduate and graduate students, as well as arts and humanities professionals. To register or for more information, contact symposium@NewportMansions.org or call 401-847-1000 x 160. Tell them that you heard about it from Engaging Places and you’ll receive a 10% discount!
“a new approach—one that treats the historic structures and landscapes, and the object collections, as being the same type of resource. This approach places the historic buildings and landscapes on a par with objects and documents, strengthening the interconnected stewardship and interpretation of these historic resources.”
It’s a good idea but it’s not a new approach.
American Wing at the Met featuring the facade of the 1822 Branch Bank of the United States.
Early in the twentieth century, museums of various types began collecting buildings. Henry Ford moved Edison’s laboratory and the Wright Brothers bicycle shop to his Greenfield Village, John D. Rockefeller quietly bought dozens of buildings to create Colonial Williamsburg, and the Metropolitan Museum of Art installed the facade of the Branch Bank of the United States as the featured object of its 1924 American Wing. Much later, landscapes were considered worthy of preservation and now most historic estates, such as Casa del Herrero, Miller House and Garden, and Marsh-Billings-Rockefeller National Historical Park, treat their gardens and landscapes with the same respect as the furniture and art works at their sites.
The National Trust’s rationale for their new approach is that, “conflicts between Continue reading →
According to reports received by the New York Times, ISIS has “destroyed parts of two of northern Iraq’s most prized ancient cities, Nimrud and Hatra. On Sunday, residents said militants destroyed parts of Dur Sharrukin, a 2,800-year-old Assyrian site near the village of Khorsabad.” The extent of the destruction is shown in this video (not for the faint of heart):
It’s a reminder of the important role that museums and historic sites play in preserving heritage and culture–and how easy it is for it to be destroyed and lost. It’s also a reminder that places far away from America can affect us, both politically, economically, and culturally. Some museums have found a way to make this connection through temporary exhibits, including this vacant vitrine at the Field Museum:
Exhibit case at the Field Museum noting destruction at the Mosul Museum in Iraq.
If your organization is also responding to the destruction of museum collections and historic sites in Iraq, please share your ideas in the comments below.