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It occurred to me, after I gave the title, that it was ambiguous. It could be an
imperative
Thats not what I meant, though in fact, the talk is very much about what
happens when the curator doesnt rule. So lets go back to the previous
version, without the exclamation mark.
Steven Lubar
Bisson Lecture in the Humanities
Virginia Humanities Conference
April 2015
Steven Lubar
Bisson Lecture in the Humanities
Virginia Humanities Conference
April 2015
First, though, some actual curator rules. This Directors Agreement with
Curators, from the Metropolitan Museum of Art, is the earliest list of rules for
curators that I know of.
Curators are responsible for the safekeeping and preservation of all art
objects.
Curators keep a property book. Theyre registrars, not just curators. And
again, by department, not across the museum.
They report once a month to the director about what theyve done. This is
when the director finds out whats been collected.
There are some practice things here, as well. No more than one curator at a
time shall be absent a whole day from the Museum. Worth noting that there
were only two curators at the time!
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This, by the way, is the man these rules applied to: William H. Goodyear, first
curator at the Met.
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In these new rules, the director has a bit more say. It seems the curators
decide what to put on display, the director arranges it, and the curators label
it. Must have made for interesting managerial politics!
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THE
METROPOLITAN
MUSEUM
OF ART
Later rule books at the Met are mostly about keeping good records:
recording object moves, photography, conservation, using new forms.
z. LOCATION
My talk isnt really about this kind of rules, though. But for a Washington
audience, it seems right to show you one more:
RECORDS
Cards for use under Rule B are to be obtained from the Storekeeper,
who will have a supply of special guide cards on which to enter case
numbers. Ordinary guide cards should be filled in with the number
of the gallery, number of storeroom, name of shop, etc., to cover the
objects grouped under these heads.
2. INSPECTIONS
The special guide cards referred to above constitute forms on which
to enter the records of the opening of cases.The records of the annual
checking of each gallery and each storeroom should be entered on the
face of the guide cards for these rooms.
While most of the checking of the contents of rooms and cases
will probably have to be done by each department during the summer
season, the checking of some of the caseswill be spread over the year,
since a case checked in the course of rearrangement, or opening for
some other reason, during the calendar year need not be checked again
that year.
3. OBJECTS OF INTRINSIC
VALUE
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These are the ocial rules what are the real rules?
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What are the unwritten rules of museums? Before you can break the
rules, must know what they are
a quick set - not definitive, but to get you thinking
and mostly these are good! Need to know when to break them.
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Start with exhibitions What are the assumptions that go into designing
exhibits?
* Another way to think about this: You know youre in a traditional exhibition
when
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Exhibition rules
You know youre in a traditional
exhibition when
Orderly
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At the Smithsonian: a place for everything, and everything in its place. A tidy
vision of the world.
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The Wagner Free Institute of Science isnt tidy, but from a distance it
suggests an orderliness to the world that is quite endearing even if the
material in each case is anything but tidy.
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Even when displaying the most un-museum like artifacts possible orderliness suggest its a museum. Cigarettes, on exhibit at the Museum of
Innocence by Orhan Pamuk in Istanbul
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Chronology is the easiest kind of order for museums. Its also one that can
easily oversimplify, over-order. A history museum focused too narrowly on
timelines suggest that history had to happen the way it did, that it follows a
pre-ordained path.
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In order
Alphabetic
Geographic
Chronological
Hierarchical
By category
Timelines
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A map filled the lobby of the Atwater Kent Museum, providing a geographic
order to Philadelphia history.
But theres more than just orderliness, or putting things in order. Museums
suggest, more profoundly that the world is ordered.
Atwater-Kent Museum,
Philadelphia
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Ordered
disciplined
like objects together
makes sense of the world
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Not just art museums, of course - in fact, art museums were modeled on
natural history museums. A picture collection not arranged by school and
artist is as ridiculous as a natural history cabinet arranged without regard to
genus, class, or family.
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You can see this in history museums, too. As Gary Kulik has pointed out,
Peales pedagogy and taxonomy were better suited to birds and mastodons
than to history and human culture. His gallery of heroes made the
Revolution tamer, more respectable, and more orderly than it ever could have
been. Peales museum oers a combination of orderly display, an ordered
display, and a suggestion that the world is orderly.
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Ever wonder what was behind the curtain? This picture gives a better sense
of the order of the Peale museum.
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There was disagreement about how best to organize exhibits, but there was
complete agreement that there had it be organization. Goode, the museum
philosopher of the 19th-century Smithsonian, put it thus: museums should be
arranged with the strictest attention to system.
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Note start of red triangles exhibitions that break the rules! when you see
these - ask whats dierent about these
Dr. Albert Barnes upset the museum world by breaking the rules put
furniture and wrought iron on display with his Renoirs - he saw these as
aesthetic similarities, not as art-historical evidence.
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Part of the power of Fred Wilsons work is the way he plays with categories.
The label says: metalwork. But somehow fine silver and slave shackles dont
seem to rest easily in our categories.
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This from a long case of artifacts that survive from the Jenks Museum of
Natural History - arranged, in a new installation by Mark Dion at Brown
University, by degree of decay not the usual way of thinking about museum
artifacts, but an appropriate for an exhibition on a museum thats
disappeared.
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Some of the most interesting museum exhibitions of recent years are those
that break the rules, bend the categories, move beyond system.
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The next set of rules: exhibits are designed for looking. Ill come back to the
fellow peering at museum exhibits with a skiascope in a moment.
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Exhibits are designed for looking. Artist Karin Jurick captures the essence of
museums in her series on Museum Patrons: people looking.
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Looking closely.
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Alcio de Andrade,
Louvre Museum, 1993
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Staring.
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Henri Cartier-Bresson,
Leningrad, 1973
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Even when art and artifacts are replaced by screens, its about looking.
Maybe even more so. We know so well how to look at screens.
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There are new possibilities for moving beyond looking with new kinds of
screen. A new kind of attentiveness, of interaction, is possible.
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Brian ODoherty explains this in his famous Inside the White Cube. How we
look at art how we look in museums changes over time, from many
things to look at, to intensive looking at one thing.
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And so we have the white walls of the gallery, each painting given its space,
framed in many ways: its literal frame, but also by the edges of the wall, the
rope in front, the lighting, the circulation of visitors.
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The best expression of this framing is Benjamin Ives Gilmans skiascope outlined in his Museum Ideals of Purpose and Method (1918). He presents
the skiascope as a device to limit glare, but metaphorically, it does much
more than that: it isolates each piece of art.
The ideal gallery subtracts from the artwork all cues that
interfere with the fact that it is art. The work is isolated
from everything that would detract from its own evaluation
of itself.
Brian ODoherty, Inside the White Cube, 1976
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Jonathan Crary calls our attention to the ways that close looking becomes
part of not just the museum but other areas of research in the late 18th
century.
Lets look at some exhibits that break the rules of close looking
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A remarkable show that broke museum rules by hanging the quilts high in the
air - not to be looked at closely, but to be appreciated as a collection, as a
set of patterns and colors - as a quilt of quilts!
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Occasionally, museums are designed for other senses, but not very often. or
very well. Hearing - but only as an adjunct to looking. Almost never touching.
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And museum educators have devised many ways to move beyond just
looking. Here, first close looking, and then drawing.
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Object Rules
Ill talk about three kinds of object rules - collecting rules, rules about treating
objects, and the notion that museums keep objects forever
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Collecting Rules
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First, what to collect: What is museum quality? Prof. Lieu, the Art Prof,
says: museum quality work is work that talks about contemporary issues,
yet is timeless.
While I dont like the notion of museum quality - museums collect should
collect work defined in many ways - this combination is not bad: meaningful
today, and meaningful in the future, maybe in dierent ways.
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Theres a long history of rules about what to collect - and what not to collect.
This is Burcaws famous listing of what isnt museum quality - rules
superseded now that were interested in not just history but also the way the
public understands and uses history Still no two-headed calves, though.
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This means each thing seen separately, protected, held for ever.
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The Rembrandt Rule - treat everything like a Rembrandt. All objects equally
precious - click once for both images - the historic house museum world is
starting to ask the question about whether this is true - whether it would be
better to tilt more toward education and less toward preservation - a hot
topic in the museum world. They talk about the Rembrandt Rule - the idea
that everything needs to be treated like its a Rembrandt.
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This was not always the case. Note the way these paintings are hung - floor
to ceiling, overlapping - not respectful in the current sense.
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The ultimate taboo: Open the case and touch the flowers. Museums are
supposed to keep the cases closed!
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Benjamin Filene, the curator of Open House, broke many rules: Not
authentic artifacts from the house; words and artifacts mixed
promiscuously; many of the artifacts not museum artifacts - bought for this
exhibit. Many dierent voices overlapping.
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One of the most shocking exhibitions ever at the Met. Not shocking because
of the sex but costumes from the collection shown in a lively way and
placed into period rooms. And broken objects!
Dangerous Liasons,
Metropolitan Museum of Art, 2004
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Maira Kalman not only cuts open the back of the chair to install a screen
she has handwritten labels!
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Museums like to think they keep objects for ever. I want to ask two
questions. Do they, and should they? Answer to the first: they dont really. (Of
the 174 paintings that were part of the Metropolitan Museum's first purchase
in 1871, only 60 are in the collection now. Only 19 are on view today.)
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Behind the scenes of every museum are storage rooms - usually with more
than 90 percent of the museums collection hidden away, most of it never to
be displayed.
When Ive taken students to visit museums, this is always what they like best
- what they remember most.
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I couldnt resist
We need to think of storage as more than just - dead storage. And museums
have started to find ways to use their stored collections for their educational
goals, to bring them to life.
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At Brown, we put our museum storage racks inside of glass exhibit cases.
We literally put storage on display!
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The collection of the Jenks Museum at Brown was lost, literally carted o to
the dump - here, its storage recreated as an art project. 80 student artistss
were given lists of collections that did not survive, and summoned forth their
ghosts.
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The Glasgow Museums Resource Centre is open for occasional visits organized mostly for storage, but also for display.
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And, of course, visible storage and study rooms are becoming more
common. Here, the Victoria and Albert Museum.
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The V&A is asking: How can we reinvent museums - how do we change the
rules - so that the public can make use of our objects?
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Harvard Art Museums new Art Storage Center - anyone can ask to come and
see any work of art.
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Finally, some more general curator rules.* These are really about moving
from The curator rules!, with an exclamation mark, to that phrase, without
an exclamation mark.
Curator Rules
Curators are experts, and
make the choices
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The museum must remain
firmly in the control of a
trained elite [to] maintain
standards of quality
independent of the
contingent values of daily
life. Museums must
direct public tasteand
not be dictated [to] by it.
http://harvardmagazine.com/2002/09/reverence-for-the-object.html
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The strong sense of high
purpose and personal
responsibility and the
strict intellectual
integritymark the
museum curator. As a
professional he is a
stronghold of individual
initiative and
responsibility in a world
threatened by the ant
heap of collectivism.
Remington Kellogg,
Director, USNM, 1952
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Curators make choices both because they are trained to - they were what
Sachs called the trained elite. Paul Sachs was head of the Harvard
Museum program in the 1920s and 30s - trained most of the museum
directors of his day - and this still stands as widely held belief - even if most
museum directors are less likely to be so blunt.
Akeley was the mastermind of the natural history dioramas at the AMerican
Museum of Natural History.
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Robert Multauf, explaining why the Museum of History and Technology todays National Museum of American History - was divided into exhibits
organized according to the specialized interests of the curators.
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One answer: Ask non-curators what they think. Let them make choices about
art and artifact to display.
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Give artists uncharted spaces to work in, and to present their own work.
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Or, as an important recent book suggest let go. Letting go means working
with the community, working with your audiences in new ways.
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It might mean reorganizing the museum so that curators are part of a team
responsible for visitor experience, not collections.
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Alternative Museum
Organizational Chart
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Display rules
Conveys authority
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Object rules
To what extent are curators thinking of the big picture of the museum, to
what extent their own work? what structures shape collecting?
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Curator Rules
This last rule seems so central to museums - but broken now in every other
medium. What would happen if we broke these rules?
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Breaking Rules
Overcome bureaucracy.
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Thank you
And finally: the curator rules? The traditional rule is that the curator is an
expert, and a specialist - and that expertise is defined as academic, subject
matter expertise. This assumption about the nature of expertise allows the
curator to be not a person, not part of the story, but an anonymous voice of
authority.
Some final thoughts on how we might break the rules. What if we put the
audience first? If our collections and exhibits overcame the bureaucratic
structures of the museum? If we first asked, as John Cotton Dana
suggested, how might we be useful?