Shanice Aga is a Khoja-American designer, and visual artist.
A trained architect and material culturalist,
Synopsis
Curation as Creation: The Art and Influence of Museum Displays, 2018
In “Museums and Museum Displays,” Shelton explores the various ways museums organize their exhibitions, build narratives, and how these elements influence power, knowledge, public culture, and the understanding of others' cultural material. Shelton outlines several working definitions of the museum over time, noting how these have recently shifted to encompass a “public service position.” He highlights the paradox of museums as both academic, authoritative spaces and accessible to the general public. Museums, Shelton argues, align themselves with history and memory, presenting spaces of nostalgia that take visitors through a series of rooms and collections, “establishing beginnings and closures of knowledge.” He suggests that the structure of the museum, the classification and typification of its objects, and the architecture—whether classical or cutting-edge—prompt people to interpret the presented information as authoritative and factual, even though many elements are excluded in order to “affirm the preferred institutional interpretation” of the objects.
BKG, in Destination Culture, “Objects of Ethnography,” examines different approaches to the creation, display, and contextualization of ethnographic objects in museum exhibitions and other institutional settings. She defines two modes of presenting ethnographic fragments: in situ and in context. In situ refers to fragments presented as partial objects, hinting at the existence of the whole, thus representing its authenticity, or displayed with a re-creation of its original site, such as a period room. In context, on the other hand, presents a fragment explained through narrative, text, “classification,” and academic theories or facts. She discusses the historical use of these methods to perpetuate stereotypes and grand Western narratives about foreign and indigenous peoples, presenting them as if they exist outside of our time. This includes placing them in recreated environments, like zoo animals, or comparing their features to those of Western figures to reinforce associations between physical traits and moral character, often perpetuating the concept of the “savage.”
Stewart, in On Longing, “On Description and the Book,” reflects on narrative and how we read and interpret signs in art, literature, oral conversation, and film. She discusses the different temporal qualities of action, authorial writing, and the reader’s absorption of the text. Stewart argues that “oral verbal art unfolds in time, written verbal art unfolds in time and space,” emphasizing the control that the viewer or reader exerts over time and space in these forms.
Lindauer, in “The Critical Museum Visitor,” outlines techniques for close observation and critique when engaging with museum and art exhibitions. She suggests considering the title and your expectations and biases before visiting, preparing questions to guide your experience, and examining how the various parts of an exhibition work together to form the overall experience. She emphasizes the importance of noticing the “unspoken messages” conveyed by the architectural style, setting, room hierarchy, and signage. Lindauer identifies four general methods of display: anthropological, art, dioramic/environmental, and curio/collector. She encourages visitors to consider who the exhibit is for, who the ideal audience is, and how the presentation imposes social, cultural, or historical meaning on the objects. When examining the context, labels, and other written materials, Lindauer advises the critical visitor to consider which point of view is prioritized, whether multiple viewpoints are included, and what the text focuses on.
Many of the readings reminded me of or directly referenced Vogel’s Net by Gell, a piece I read recently. In it, Gell examines the main answers scholars have proposed when distinguishing between what constitutes a "work of art" versus what is merely an "artifact." He thoroughly discusses what is persuasive and what is erroneous within both the "interpretive" and "institutional" theories of art, using an exhibition curated by Vogel as a central example. This exhibition featured a net used in hunting rituals by the Zande people of Africa, prominently displayed in the gallery as an art piece alongside contemporary or modern sculptures, along with the writings of Danto. I found Gell’s discussion of the curator’s role to be the most engaging.
Gell’s arguments are highly insightful, highlighting the circular and contradictory statements made by proponents of various theories as they try to assert their definitions of art. Through this, Gell makes a compelling case that none of the existing theories fully capture the essence of what art is. Instead, he suggests that contemporary artwork is a product of a combination of aesthetic appeal, institutional presentation, and interpretive qualifications. Gell’s brief discussion of the curator’s role is particularly compelling, as it supports this point. One could argue that Vogel, in displaying the Zande hunting net, assumes the role of the artist, presenting it with artistic intent. In doing so, Vogel recontextualizes the net, removing it from its cultural and ritual origins, much like a ready-made that brings new interpretation to the gallery space.
EXTEND
How much "artfulness" should curation involve? How much artfulness is inherent in curation itself? The narratives and themes crafted by curators often serve to connect history, time, and contemporary issues, which can be incredibly effective in engaging audiences and disseminating information. However, these narratives are highly variable and largely shaped by the curator’s own interests, background, and perspectives.
Should the biases, interpretations, and goals of the curator or institution be explicitly addressed? How can museums avoid imposing institutional narratives and create space for self-critique, allowing visitors to form their own opinions? While multiple perspectives are helpful, is that enough to truly foster a more open and reflective experience?