African American Museum in Philadelphia

Christopher Carter’s traveling exhibition recently stopped at the African American Museum in Philadelphia (October 18 through December 31).  This exhibition features pieces of art that are made from objects he has found – many of them are from an abandoned building that likely dated to the early 1800s.  Upon my arrival into the top floor gallery space, one particular object caught my eye. It reminded me of a picture I had seen a few weeks earlier. 

The piece I have chosen is entitled “Bronze Buoy.”  It was made in 2012 from found mahogany and bronze and is on display at AAMP in the Stalwart: An Installation of Found-Object Sculptures art collection.

This piece is important to other African American artists and those who appreciate the presence of African Americans in art. This piece is also important to those with an interest is recycling objects for art.

Bronze Buoy is on display with a many other pieces of art, most of which resemble flags with stars, and some having a nautical theme. Carter believes his pieces convey new perspectives on social, political and personal narratives, on current and historical events.

This piece is on loan to the museum with the rest of the collection as a way for the museum modern art in addition to historical information.

This piece is placed near the wall of the top floor gallery but in immediate view as one walks up the ramp from the lower floor. It is fully accessible from almost all sides – the exception being the right side which is blocked by a hanging piece of art. 

Next to Bronze Buoy is a large comb which hangs from the ceiling.  This comb has a clenched fist carved into the handle. (Incidentally, my second thought when I first saw Bronze Buoy was that the comb next to the coiled rope and ball made the two pieces look very similar to a fork with spaghetti…but maybe I was just hungry) There are also many other flag pieces on the walls in this gallery space. One of these flags is a piece wrapped in rope and appears to have a ball of rope holding it down to the floor. This piece is similar to Bronze Buoy which is also a piece that shows something being held or tied down.

 The label for this piece contains very minimal information. It is placed on the wall behind the piece and states only the title, year, dimensions, and of what it is made. This allows the viewer to create their own meaning and connection with the piece. If they find the label, they may be guided towards a nautical interpretation, but they are not restricted to interpreting the piece through the artist’s point of view. If they do not find the label, their interpretation of the piece can be very broad (such as a plate of spaghetti or a rejection of physics and gravity).

Knowing that the collection is based on found objects, studying recycling may enrich one’s understanding of this piece. An interest in maritime culture and nautical things may also make this object more interesting. The unique architecture of this piece may also appeal to those who study physics as they attempt to interpret how the ball is floating above the floor. This piece is also interesting to people fond of antiques or old buildings, since it is constructed of found and old objects.  

It may not be interesting to those interested in only flat, pretty paintings. The lack of color in the piece may be too ugly for some people to enjoy. It may also not be interesting to those who do not wish to interpret pieces in their own way – those that would rather be told what the artist meant people to feel or think when they look at it.

The title suggests that the piece is a buoy being held down to the floor and not being allowed to drift away. It could also be seen as a balloon that is floating into space with the rope uncoiling as it floats away, rather than being held firmly to the floor. 

An interesting experience could be created by having the buoy part of this piece at eye level with the viewer with the rope and mahogany portion below. This would give the illusion of the viewer looking down at the buoy from water level. An analysis of how the piece is constructed could also be an interesting way for viewers to connect with this object. They could be told how the artist was able to make the ball float above the rope in such a rigid manner without collapsing.

The Penn Museum of Archaeology and Anthropology

In a museum about anthropology and archaeology, there is really only one obvious choice for an object.  That choice is human remains.

I chose a mummified head that is part of the museum’s new project In the Artifact Lab: Convserving Egyptian Mummies.  It is an actual human head wrapped in linen.  The head is from the 22^nd Dynasty dating between 945 – 712 BCE.  It was excavated in Thebes, Egypt by W.M.F. Petrie.

This head is important to conservators and those studying Egyptology and mummification.  It is currently in the process of being conserved and is on display as an example of the conservation process.  The identity of this particular head is unknown and it is unclear why only the head is possessed by the museum.  Conserving this head may be beneficial if the rest of the body is found again.

 

 

The head is on display just behind the glass walls that surround the working lab.   It is placed inside a shallow cardboard box and resting on paper.  There is a small bag containing a few other mummified remains.  Writing on the bag describes the content, but it is difficult to read.  The display is less “museum-like” and more “lab-like.”  This helps to create the feeling of seeing an actual working lab where research and conservation efforts are actual taking place as opposed to a simulated experience (like dioramas) that may be expected from museums.

Ooh! A real scientist!

 

The text on the display panel promotes scientific research of this and all other mummies.   The panels treat each mummy as an artifact and do not focus on the fact that these “objects” are actually human remains.  It is very easy, based on the text in the descriptive panels, to forget about the human aspect of the remains.  Similarly, the conservator working in the lab is also treated more like an object.  She is on display behind glass, just like would be found in any other exhibit in the museum.

Just to the left of the head is a large image that has been taken from an Egyptian tomb.  This image is also in the process of being restored.  The colors are faded and there are many cracks and missing pieces.  There are also many other partially conserved mummies close to this head.  One interesting display on a nearby wall allows visitors to feel what the skin of mummies is like.  All these nearby objects help visitors to understand the process of conservation and Egyptian mummification. 

The study of Egyptology and the history of the different dynasties of Egypt would enrich the understanding of this object, as well as a complete understanding of the mummification process used during this time period.  The study of biological and chemical process and how they affect body preservation would also help with the understanding of this object.  The study of art conservation would also enrich the understanding of this head.  This would allow for comparing and contrasting of strategies used in both forms of conservation.

More heads!

 This is an actual human head and would not be interesting to those who are disgusted by dismembered body parts, regardless of mummification or conservation status.   It may also not be appealing to visitors who care only to see the polished, finished product in museum displays.  This lab is focused on the “working” aspect of conservation and not the final museum exhibit.

An opposing viewpoint could be that the remains should be removed from their resting place and put on display in any manner.   The conservation efforts promoted by the museum should not be taking place out of respect to the life that was once part of that head.

 

Another way to engage viewers with this head would be to illustrate the entire mummification process.   This could begin by showing the steps that are taken to begin the mummification process and then the effects on the body over time.  Information regarding the frequent tomb raiding and usage of mummies for medicinal purposes could be included as a possibility for how the museum came to acquire only the head of the mummy.  The display could then show the conservation process and how it will counter the effects of aging and environmental factors.

As Time Goes By.... The American Philosophical Society

"I've often speculated why you don't return to America. Did you abscond with the church funds? Run off with a senator's wife? I like to think you killed a man. It's the Romantic in me." - Casablanca

Today’s subject isn’t just one particular object.  It is a case of objects that reminded me of one of my favorite quotes from one of my favorite movies.  Captain Renault is speculating the reasons why Rick can’t go back to America. Renault is a man of few scruples and is most content believing Rick killed a man.  The case I have chosen is a selection of objects that, like Rick, have a mysterious origin.

The case is labeled “Canto” which, in Latin, means chorus.  It is a tall rectangular case containing four small objects.  The first is a carved slate dodecahedron.  The maker is unknown but it was found in Ohio sometime before 1792. The second is a wooden cube with no known provenance or maker.  The third is a coiled piece of wire dated January 27, 1893 from Elihu Thomson.  The reason Thomson saved this piece of wire is unknown. The final object in this case is a broken barium crown glass lens from Parra Mantois, Paris.  Once again, the reason this object has been saved is unclear. They are set before a long inkjet print from artist who created the exhibition, Antonia Contro, entitled et cetera.  This seems to imply that the objects in this case are miscellaneous items that have been leftover and, in a few cases, forgotten.

This case is very important to the exhibition as a whole. The exhibition is entitled Tempus Fugit, which is Latin for Time Flies.  This case shows that time flies and little things that may have, at one time, been important, are often set aside and forgotten. This case is also important to any visitor approaching the exhibition that would like to use their own imagination to interpret the meaning of objects. Since most of these objects have no background that has been remembered, visitors are able to create their own story for how or why they were saved or may have been important.  I, personally, was drawn to the wire. It is coiled and has found with a date.  It is thought that it was likely part of an invention or experiment with electricity since Thomson was known to be an inventor and even started one of the largest electric companies. Its coiled shape is what caught my eye. It almost looks like a bracelet. I like to think this wire was a bracelet he gave to someone and later kept as a reminder of his time with that person. It’s the Romantic in me.

This case, as mentioned before, is entitled Canto. A chorus is often thought of as a group of individuals singing together. The objects in this case work together, like a chorus, to convey the message of time passing and certain objects being preserved but their identities forgotten.

All of the objects in this case are from the American Philosophical Society’s archives, with the exception of the print that Canto created to complement the pieces.  Only the broken glass lens is on small pedestal. The others are just on the floor of the case with her print serving as the backdrop.  There is no descriptive text near the case. This allows visitors to fully create their own meaning and history for the objects in the case.
























 To the right of this case is a large projection of the sky. An image of a cloud is featured near the center of the image which slowly changes.  This is a visual representation of time passing. While one stares at the clouds, it is not easily apparent that the cloud is moving. It is when one looks away and then back at the clouds that the change in formation is noticeable.  This shows very well that, without noticing, time continues to pass.  These objects had gone unnoticed as time continued to pass and, eventually, they were forgotten. To the left of this case is another case entitled Nocturne.  This case contains many images of the moon and poetry written by Canto. This case shows other ways time has been documented as passing. There is a description of the moon’s effect on the tides, a time lapse photo, and even a documentation of the Transit of Venus from 1875.  This case, like the cloud image, show how time continues to pass.

Knowledge of what the objects in this case are may make this case more interesting to visitors as well as knowledge of Elihu Thomson and his inventions. This case would likely not be interesting to viewers who are not interested in speculation. Those wanting only to see objects of important historical significance would find these forgotten pieces to be unimportant and maybe even boring.

An alternative approach to the objects in this case could be that they are only junk that has been saved unnecessarily, like that of a hoarder.  They are pieces, without significance, that have been kept without reason. Basically, they are just trash.

Signage next to this case would definitely add to the visitor experience. Without reading the pamphlets provided by the museum, one would not know about the mysterious origins of these objects. Providing panels and signs would give the visitors the information needed to understand what they are viewing. Visitors could also be more engaged with the objects by asking them to participate in an interactive display made of stories and ideas other visitors have regarding the objects on display.  This could be as simple as post it notes on an adjacent wall. Visitors could be asked to write or draw what they think is the origin for the objects in the case. This type of activity would allow visitors to take time to create their own story about the object and form a connection with the case and the objects within it.

And, in case you're interested, here's the clip from one of the best and most quotable scenes in the movie...

Academy of Natural Sciences

For many people, museums are about one thing. Dinosaurs. The Academy of Natural Sciences does its part to ensure these people are not disappointed.  So, this week's object is a nod to those people. Also, I really like dinosaurs...

This object is a cast of a Tyrannosaurus Rex skull. It highlights the tooth structure of the dinosaur and provides more information about how the dentition of the T. rex.

This cast is very important and interesting to children who are commonly known for being mildly obsessed with dinosaurs when young.  The ability to have an up-close view of the skull makes it important to dinosaur enthusiasts of all ages who wish to learn more about their teeth and skull structure in general.  The cast may also be important to biologists interested in learning how extinct animals relate to modern animals and to paleontologists interested in learning more about skull or tooth structure of individual specimens.

This object is on display to teach visitors about the teeth of the T. rex. It points out the serrated edge of the tooth and the fact that each tooth can be replaced if it falls out or breaks. The cast of the skull also offers visitors an up-close view of the skull that isn’t normally achieved with full skeletal displays. This view allows visitors to touch an object they wouldn’t normally be able to interact with on a personal level.

The skull is not made of bone but is a cast of an actual skull. The text panels near the display do not state what the cast is made from or how it was acquired. It is likely, however, that the exhibits department at the museum or the other scientific researchers that work with the Academy of Natural Science created the cast.

The skull, as stated before, is located on a small platform near the back of the second floor of the dinosaur hall. The platform places it just about a foot off the ground. The “chin” of the skull hangs off the front of the platform and the mouth is in a wide open position. This position allows visitors to see far inside the mouth and even put their head inside the skull for a closer look.

An information panel for the skull is placed on the platform. It has two simple questions and, in a few places, substitutes the name Tyrannosaurus rex with a small image of the dinosaur. This makes the text on the panel more readable for young children or those with reading difficulties. The first question on the panel contains the word “serrated” and then defines that as meaning “like a steak knife.” This, again, makes the panel more easily understandable for young children or those without a large vocabulary. The corner of the panel explains that the answers to the question can be found inside the skull. Small circular attachments on the inner lower jaw of the skull give the answers to the questions. The placement of the answers encourages visitors to lean into the skull or put their head inside the jaw of the T. rex, encouraging interaction with the stationary cast. 

Next to the Tyrannosaurus skull is a cast of a Triceratops skull. This skull is displayed in the same way as the T. rex. It is close to the ground and offers the same interactive experience. Additionally, a comparison can be made by viewers between the carnivorous T. rex skull and the herbivorous Triceratops skull. Also on this floor are other Tyrannosaur centered interactives.  There is a floor display with Tyrannosaurus footprints next to crocodile footprints that encourage visitors to walk like the dinosaur and the crocodile to compare the gait of each.  

 There is a treadmill that visitors can walk on that will moves a T. rex model. The tension on the treadmill creates a forward leaning gait which mimics that of the Tyrannosaur.

 The centerpiece of the room is a cast of a full Tyrannosaurus skeleton. The panels for this T. rex give more information about the species and the particular specimen on display. All of the various Tyrannosaurus rex displays around the room and other dinosaur information give context to the T. rex skull. They provide additional information about the species and the help visitors create a complete view of what the species may have been like.’

 Understanding paleontology would greatly help with the appreciation of this skull. Additionally, a background in biology, herpetology, or even ornithology would also enhance the appreciation of the skull. As a cast, this object may also be more appreciated with an understanding of metal-working and cast-making.

This skull may not be interesting to those looking for an artistic expression of the Tyrannosaur. The text panel is childish and may make the skull uninteresting to adults or children who already know the information that is being presented.

The skull focuses on the teeth of the Tyrannosaurus. The display could easily be changed to highlight other features of the skull such as the eye socket, nasal cavity, or cranial capacity. These could each be compared to modern species. Additionally, a comparison of the Tyrannosaurus skull to that of modern birds could prove to be an interesting display about evolution. It would also be interesting for visitors to see how flesh can be added to a cast to create a realistic looking head. 

Object honorable mention: Okapi!!!!

Please Touch

The worst part of museums for most children is the inability to run around screaming and touching everything in sight.  Thankfully, there’s the Please Touch Museum!

 The Please Touch Museum (PTM) is set inside Memorial Hall, a building that was originally built for the Art Gallery of the 1876 Centennial Exhibition.  PTM incorporates pieces of the original exhibition into their collections and highlights many architectural details that make the building unique.  The exhibitions are fully interactive for children and encourage learning through play. Many of the exhibitions contain artifacts- some from the Centennial and some from no specific time period but relating to the exhibition (The Alice in Wonderland exhibition, for example, contains a Mad Hatter cookie jar produced from 1995 to 2001). 

For this blog, I have chosen one of the largest objects in the museum.  The Woodside Park Dentzel Carousel.

The carousel debuted in Woodside Park in 1924 and contains hand carved wooden animals dating to 1908.  The outside stationary animals and chariots were carved by prominent carousel carver, Daniel Muller.  The inner moving animals were carved by Salvatore Cernigliaro, the head carver of the Dentzel Carousel Company.  Originally, this carousel was used as a sales model.  William Dentzel would take potential clients to view this carousel, his favorite. When Woodside Park closed in 1955, the carousel spent many years in storage in various locations until it was loaned to PTM.

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 Carousels are important to a wide range of people. The first, most obvious group, is children. Children enjoy riding carousels. Carousels are also important to adults and the elderly. To the elderly, carousels serve as a time machine to their own childhood when a trip to the carousel was like a trip to an amusement park. Adults find carousels as an important place to take their own children.  (Adults without children may find carousels important for their propensity to be an adorable date spot!)

This carousel is on display here as a unique children’s object from Philadelphia’s history.  PTM had considered installing a carousel featuring popular children’s characters such as Dora the Explorer but was able to, instead, acquire this carousel in 2008 from the Philadelphia Historical and Museum Commission that was in danger of being destroyed. A new wing was added to Memorial Hall and designed to match the building perfectly. Six pointed stars adorn the ceiling and are an architectural reference to the façade of the original building. When restoration was complete, the carousel was moved into this room. In 2011, the Philadelphia Historical and Museum Commission official gifted the carousel to the Please Touch Museum.

 

The carousel is surrounded by information panels. There are tables and chairs where parents can sit with their family and watch the carousel, similar to how they would have when the carousel was in a park. There are pictures of the original Woodside Park location and many panels with information about the carousel itself. As one enters the room, a panel gives a brief history of the carousel and then explains the restoration process. To the left is a description of the history of carousels. Another panel, though partially blocked by a bench, details the history of Woodside Park. The final panel tells the history of the Dentzel Carousel Company and carver Daniel Muller.

The numerous panels are lengthy and appeal to those wishing to have a thorough understanding of the significance and history of this carousel. Each panel highlights the importance and unique nature of this carousel. Readers are guided to appreciate this carousel for its historic value and efforts to restore it.

While carousels are appealing to a very wide audience, they may not be as appealing to groups like teenagers that are trying to abandon their childhood in an effort to grow up quickly. Those with motion sickness may also not like riding or watching the spinning carousel. People hoping for a thrill ride experience may be disappointed by the tame carousel.

Another way for visitors to engage with the carousel would be to identify the unique features of every horse or animal on the carousel. This way visitors would learn the specific artistic details of each animal and would create a deeper connection between the visitors and the carousel. Small children can also be offered coloring pages of their favorite animals. Visitors may also engage with this Dentzel Carousel Company carousel by knowing where to find other Dentzel or other historic carousels in the region or across the nation.