Sustainability

Hmmm...it's everywhere these days...
sustainability...what does that really mean for museums? A number of museums are exploring ways to make their buildings sustainable--green building is becoming a more important part of many museum's thinking (for more on green building, see Sarah Brophy's website). Equally important, though, and also addressed by Sarah on her site, are the issues of organizational sustainability. I recently co-presented an introductory workshop for small museums about grantwriting. I was stunned, in a way, to discover how many museum people--staff members, volunteers, board members, couldn't articulate a real purpose for their museum--couldn't go, to paraphase Laura Roberts, from being only in the storage and warehouse business.

I thought about this today as I had a conversation about storage units and filled basements--a colleague couldn't quite bring herself to sort out family belongings after her parents had passed away. Some days, on my trips to small museums, that's what it feels like. All too often small museum staff and volunteers feel that because someone gave it to them, someone local, someone they knew, it must have meaning and importance, even though no documentation came with it. And there you are, with yet another wedding dress, or wood plane, or stiff-necked man in a daguerrotype--that must be cataloged and cared for. A 1989 article by Gail Dexter Lord (thanks, Joann, for sending this along) found that collections care, directly and indirectly, made up an overage of 66% of museum budgets.

Interestingly, the UK Museums Association has taken a bold step. According to their website
they are "urging museums to make their collections more dynamic and to include disposal as a routine part of collections development. To this end, a Disposal Toolkit is now available to download… Mark Taylor, the MA's director, said: "Museums typically collect a thousand times as many things as they get rid of. Wonderful collections can become a burden unless they are cleared of unused objects." The Museum Association provides a free downloadable Disposal Toolkit to help museums think about the process.

So will deaccessioning our collections help us become more sustainable? Maybe, maybe not. Not if the museum deaccessions, but still maintains the same mindset. Maybe yes, if museums use the deaccession funds to properly care for their collections, and find additional time and funds to do more work in engaging communities. The only way we'll be sustainable is if people see a need and a purpose, if we really do connect with our communities in ways that matter to them.

Above: Mrs. Norris (no relation), Pie Town, New Mexico, from my favorite source, the FSA/OWI collection at the Library of Congress

Barack and Me

Last night on one of the cable news channels, I heard some commentators discussing whether Barack Obama had plagiarized a speech from Massachusetts governor Deval Patrick. The speech was about the importance of words--and I was struck by how similar parts of the speech were to the new tour I've been working on at the Theodore Roosevelt Inaugural National Historic Site in Buffalo, NY. The site is the house where Roosevelt was sworn in on September 14, 1901, after the assassination of William McKinley. After the somewhat improvised swearing in--and then a brisk walk--Roosevelt returns to a room being used as a temporary office for him and sits down at a desk to write his first message to the nation. On the tour, we bring visitors in, and talk about how we look towards presidents to do many things--to help us understand things, to mourn, to look towards the future--and mention both "four score and seven years ago," and "today is a day that will live in infamy. We ask visitors what Presidential words they remember--in our prototyping, people mentioned JFK's "ask not what you can do for your country," but also "our long national nightmare is over," and Reagan's speech about the Challenger astronauts. So the idea that words matter--particularly to presidents--isn't an idea exclusive to Obama, or Deval Patrick. It just is...words do matter.

What happens next on the tour? Visitors were asked to just jot down some notes about what they would say if they became president. What happened? In each prototype tour, a serious discussion about the fundamental things that we care about as Americans--and that we wish for in the future. We then share a copy of TR's draft of his proclamation--although by the time of its writing, he had published numerous books, he struggled just like the rest of us. The draft is in fits and starts, with cross-outs and start-overs. Words do matter.

And hey, why doesn't anyone accuse him of plagiarizing from me! I wrote this draft tour weeks before the speech.

Personal Meaning Making Take 2

Today's New York Times has a great article on how romantic some couples find museums--particularly on those Friday nights when many NY museums are open late. Evidently the Met is a great first date place, and a colleague of mine visited the Rubin Museum on a Friday night not long ago, and was surprised--and thrilled--to find the lobby full of music and people drinking martinis. In the Times article, one visitor described her museum going experience,"Going to the museum is intimate. It's something you experience alone, but communicate to the other and exchange impressions." Andrea Bayer, a curator, described a visit as "allowing an expansiveness of time." For those of us--mostly all of us, I suspect, museum visits offer an antidote to the rushed, hurriedness of our lives. I find that although I like history museums, I visit them as a busmen's holiday--what do the labels say, how is something mounted, what are the media installations. But I find art museums to allow that expansiveness of time, a place where you really can transport yourself. My husband and I visit museums totally differently--I'm a skimmer and he's a deep looker, but the chance to see visit a museum, then sit and talk about it...that's a wonderful thing.

Above: The Love Letter by Fragonard, at the Metropolitan Museum

Calling Maxwell Smart

Last month, I visited the Bata Shoe Museum in Toronto. I'd never been before, and was very pleased to find a fascinating place, filled with great shoes, of course, but also filled, throughout, with creative, inventive exhibition design in both permanent and temporary exhibits. So I thought I'd share some images here. Above, a shoe created by a student as part of a classroom project. All of these student shoes were beautifully displayed in vitrines, making me think that the students were thrilled and perhaps felt a lasting connection to the museum.











Entrance to permanent exhibition






Permanent exhibition: loved the use of color and pattern here and the way that the shoes were mounted low and a playful, curving band of images and patterns encircled them.

Below, images from a temporary exhibit on Roccoco shoes. As you can see, it's a plain black box of a room, transformed by interior walls, rococco style and chandeliers. The attention to detail even extends to the padding that the shoes sit on in the cases and the number"buttons."





Below: An exhibit on First People's (Native American) shoes from across Canada, divided by region. The large backdrops showing details from the footwear are printed in segmented banners. It took me a little bit to discover that the boxes pulled open, but once they did, they did a nice job providing additional information. What I didn't like here? The fairly extensive use of the passive voice in label writing. A stitch isn't laid down, someone does the stitching.



Below: a sort of open storage exhibition, showing off more highlights from their collection. Right outside this room was a large window into a lab where you could see conservators at work. What did I like here? The design was very simple but engaging, and where else could you see Napoleon's socks?



And finally, another student shoe--flip flop gone wild!

Personal Meaning Making

I'm often in meetings talking about that visitors bring their own perspectives to museums, and that we can no longer think of the visitor as an empty vessel, in which to pour all our arcane knowledge. In one such meeting this week, we got in a conversation about historic sites that might move a visitor to tears...after discussing sites such as Stepping Stones, which was the home of Bill and Lois Wilson, founders of AA and Al-Anon, and other powerful sites, one of the meeting participants said, "I cried when I saw Pee Wee Reese's plaque at the Baseball Hall of Fame." To her, he was a memorable part of her childhood. So, that's Brooklyn Dodger Reese above, a reminder of how you never know what will reach people.

Personal Commemorations

I've been thinking lately about the ways in which we choose to commemorate individuals--not necessarily famous ones, but just those who connect with others, but may not be famous or well-known. In the last few weeks, my own small community has seen the accidental--and unconnected deaths of three young people. Intriguingly, the way that high school and college students choose to commemorate those lives is a facebook site dedicated to the person. People "friend" the site, post pictures and videos, and write messages directly to the deceased. In a way, it's a collective "curation" of a life by friends. It made me wonder about what happens to those sites over time? Do they continue to exist in cyberspace?

In Toronto, I saw two other commemorations--both very different. At the entrance to the Bay, Toronto's big department store, is this window.

Long ago, this particular store must have been Simpson's, rather than the Hudson Bay Company--my somewhat fuzzy picture doesn't quite show it, but it's commemorating Simpson's employees killed during World War II. But I wondered about this window...is it always up? does anyone ever look at it? and who were all these people? what were their lives like before the war? what happened to them? How do their families remember them--and do they even know this was there? I was touched by whatever corporate entity still maintained this display.

We also visited Gallery 44, which had an installation by Ivan Jurakic. My photos don't quite express it, but he created, in an outline of electric bulbs, an outline of a Nazi plane shot down by Resistance fighters--including his father--during World War II. It's not about the plane, really, but seemed to me to be about commemorating that part of his father's life.















All of these made me think about how museums commemorate people. Well, we're happy to do plaques for people who give us money (or in the case, below, have big pictures of donors in your museum) but perhaps we could spend more time finding those individual stories, and telling them in compelling ways to connect them with larger themes and meanings. And, don't take those objects without compelling stories attached just because you don't know how to say no.














From top to bottom:
Installation by Ivan Jurkavic at Gallery 44, Toronto
Entry window, The Bay, Toronto
Photo in installation by Ivan Jurkavic
A bored museum visitor ignores images of donors at the Royal Ontario Museum's new wing

Look at Me, Me, Me!

Just back from a trip to Toronto, that included a visit to the Royal Ontario Museum, with the new Michael Lee-Chin crystal, designed by Daniel Libeskind. It's been a very long time since I've been so disappointed in a museum. I've always loved visiting the ROM and felt that they had all sorts of interesting ways to connect with visitors. But now, they seem to have lost that connection in their new addition. What do I mean? To start with, although the crystal is certainly eye-catching, as you approach it, it seems unfriendly and sort of threatening, as it hangs over you.














You then come into a sterile long white hallway, already looking sort of dingy. I noticed visitors looking lost and confused. Upstairs, the crystal shape produces very odd galleries, and I have to imagine that curators and designers will soon grow tired of how the space is restricted by the angles and the highly slanted walls, moving everything to the center, and providing much less floor space than one thinks. I was a bit unmoved by the "Spirit House" at the center of the crystal, which, the ROM's website says, "creates a personal Museum experience for each visitor."

But then, strangely, all the imagination disappears. A brand new exhibit on dinosaurs was crowded with visitors, but I found it hard to follow, and not exceptional in design. An exhibit whose name I can't remember (nor can I find on the website) about Canadian decorative arts could have been installed anytime in the last seventy-five years. Big line-ups of furniture and silver just aren't for me.

Okay, did I like anything? The stairway of wonder, although I suspect rarely used by visitors, highlighted collections items in beautiful ways. A nice, not fabulous hands-on exhibit area was being enthusiastically used by families. And finally, as it started to get dark outside, it was great to walk by and see those big dinosaurs through the windows of the crystal.

Who's the me, me, me in the title to this post? Seems like it might be the architect, and not the museum.