Tim A. wrote:

> I would argue (and maybe you wouldn't) that there is a big difference in
> significance within a Museum/Gallery setting between a Picasso and a tin
> of Victorian tripe from Franklin's expedition to find the Northwest
> Passage (just happened to have photographed one of those...). I believe
> that at certain levels almost anyone can engage with the Picasso in one
> way or another (even though certain forms of engagement may need more
> understanding and experience than others), but most people would need a
> label and explanation as to why this rusty old tin can is in this glass
> case in a Museum?

Actually, I would disagree with this.  A tin of meat is something I
understand.  Provisions for a voyage, the act of exploration, simply the
idea that this was owned by a famous person a couple centuries ago -- these
are all things I "get."  But a flattened portrait of a lady with both eyes
on the same side of her face and an upside-down nose?  THAT I'm going to
need help with.

Luckily, I got that help -- not form a museum, unfortunately, but from some
wonderful art history teachers back in college.  And now I try, with
varying degrees of success, to help my young neices and nephews to
understand -- in a word, I "interpret" it for them. For them, as for many
visitors, art is a foreign language.  A little interpretation is helpful.

Eugene Dillenburg
Exhibit Developer
Science Museum of Minnesota

=========================================================
Important Subscriber Information:

The Museum-L FAQ file is located at http://www.finalchapter.com/museum-l-faq/ . You may obtain detailed information about the listserv commands by sending a one line e-mail message to [log in to unmask] . The body of the message should read "help" (without the quotes).

If you decide to leave Museum-L, please send a one line e-mail message to [log in to unmask] . The body of the message should read "Signoff Museum-L" (without the quotes).