Sorry - you misunderstood my message totally. I am not against any
including of oral history in museum staff remarks. The proposal was to
have ONLY different visitors comments on objects INSTEAD of museum staff
information.
"artgeek" <[log in to unmask]> schrieb:
Dr Müller-Straten's remarks remind me in some ways of the discussion
that
arises whenever schools suggest elevating a new or different book to
the
canon taught in our elementary, middle and high schools. What may be
gained
from this addition is ignored wholesale for the known classics we so
passionately stand by and fret about losing.
Marieke mentions NMAI as one of the museums using this method, and it
certainly feels appropriate. Objects on display at NMAI are cultural
artifacts and can benefit from first-person accounts of how they (or
similar
tribal objects) are used. Even in an art museum such as the one in
Brooklyn,
community members have certain memories of works of art that could be
enlightening to share with visitors.
These new methods of label presentation (if they are new) need not be
organized completely without the touch or oversight of a more typical
curator. And they certainly do not replace the knowledge of our museum
curators, but they do bring in other, worthwhile perspectives. Honestly,
the
concept seems "great" to me because it encourages visitors to look at
and
connect to the works in our museums in new ways. Rarely do our curators
include label text of personal stories relating to artworks or other
objects
on display, but those very stories can be educational, too. At The
Baltimore
Museum of Art, for example, we talk not only about the wonderful works
of
Matisse as significant masterpieces, but also use them as an opportunity
to
tell the story of Ms Etta and Dr Claribel Cone who collected and
donated
those works. And this makes an impression on our visitors who remember
the
sisters' stories, connecting our residents to artists such as Matisse
and
Picasso not just through the works of art themselves, but also by being
Baltimoreans who were in Paris and travelled, who met with these artists
and
other fascinating individuals.
I spend a lot of time on the floor of the BMA and other museums and,
yes, I
do hear visitors get things wrong. We're not talking about giving away
the
keys here or spreading misinformation and not taking responsibility for
the
label text in our galleries. On the floor of the museum, I also hear
amazingly personal stories about artists who lived next door to our
visitors, memories of the museum prior to my even coming to Baltimore,
and
hopeful stories about how works in our galleries motivated and touched
people. I am grateful and lucky to have people share these stories and
memories with me, but certainly think they could be shared in a
meaningful
way with a larger audience, too!
Cheers / Angelique Weger
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