THE DEVIL IS IN THE DETAILS: MUSEUM - Displays and the Creation of Knowledge

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Abstract

"This paper presents a methodological framework for con- ducting research on the knowledge-making capacity of museum displays. As active agents in the production of knowledge, museum displays are increasingly being rec- ognized as documents of significance to the history of scholarly disciplines and the evolution of ideas. ln order to investigate how exhibitions create knowledge, a basic outline of some of the key attributes invotved in creating meaning in exhibitions is offered. Building on research in exhibition analysis, the h¡story of collecting, and archae- ological representation, this account emphasizes how there is a complex network of factors that warrant consid- eration when assessing the epistemological function of museums. [Keywords: strategies, exhibition analysis, museums and knowledgel"

Intro

"[...] while within the field of museum studies there is wide rec- ognition of the important role museums play in communicating ideas, there is a general lack of aware- ness in other fields about the extent to which exhibitions create knowledge about the subjects they seek to represent."

"As active agents in the construction of knowledge, museum displays are increasingly being recognized as discrete interpretive documents of great signifrcance to the history of scholarþ disciplines and the evolution of ideas."

"Since earþ modern collectors began arranging their collections for the purpose of being seen by visitors, an interest in display was apparent (see MacGregor 2007; Moser 2006:1142). Although few chose to write about strategies for display, the ways in which objects were presented was of immense importance in imparting identities upon collections. "

"[...] Falk and Dierking (2000:127) observe how there has been a "move away from the concept of exhibitions as merely spaces for visually displaying objects to the view of exhibitions as environments in which visitors experience art, history, nature, or science."

"Although many researchers have highlighted particular aspects of the exhibition- ary environment as being important in the communication of ideas, such as space, lighting, and the composition of text (e.g., Lindauer 2006), guid- ance on assessing their impact is limited."

"In order to demonstrate the powerful knowledge- making capacity of museum displays, it is necessary to consider the diverse range of factors involved in the production of exhibitions and how these influ- ence visitor understanding of particular subjects. In addition to identiSzing the critical components of displays, it is also important to establish how these components complement and reinforce each other in a system of representation. While often seen 4s "props," details such as lighting, display furniture, and spatial arrangement function as devices that work together to create an environment within which visitors gain understandings of culture, history and science, as well as concepts such as "civilization," "progress," "racel' and "gender." To demonstrate how the technologies of presentation deployed in museums are integral to the formation of knowledge, a basic outline of the categories that might be considered when analyzing museum displays is pre- sented.

This outline is not intended to be definitive or prescriptive; it is merely offered to give guidance and suggestions to those wishing to explore the complex relationship between content and methods of pre- sentation in museum exhibition. It is fully recognized that contexts for analysis will greatly vary, as there is an infinite variety of factors affecting the way displays are constructed and interpreted."

"More specificall¡ in determin- ing how displays contribute to the creation of knowledge, it is necessary to carry out research on who was responsible for designing the exhibit(s) in question and to find out about their educational or professional background. It is also important to know about the nature and history of the collection being exhibited, the motivation and aims behind the selec- tion of the topic(s) for presentation, the basis upon which objects were chosen for display (including what was excluded), and the intended audience and planned learning outcomes (if any)"

"Beyond looking at what is physically on displa¡ it is necessary to consider all the details ofthe display en- vironment in which collections are presented. As noted above, this is not an exhaustive list-anynumber of details, however insignificant, can inform us about the theoretical, political, and intellectual values at the heart of an exhibition. Furthermore, while many elements appear to have little significance when examined in isolation, they can assume great importance in making statements about a subject when considered in relation to other details. "

Architecture, Location, Setting

"The architectural style of the building in which exhi- bitions are presented, and the location and setting of museums are key factors in evaluating the epistemo- logical significance of museum displays. As noted by Lord and Lord (2002:69), visitor experience "begins as the visitor approaches and enters the museum," with the physical reality of the site, the architectural presence of the museum, and its location all convey- ing messages about the contents of the museum. The features and iconic status of museum buildings are important because they can influence how collections are perceived, as can the location of museums in cities or rural environments, and in purpose-built struc- tures or reconstructed ancient sites"

Neoclassical buildings

" Exhibitions housed in great neoclassical buildings, for instance, imbue displays with a degree of authority and influ- ence. Neoclassical architecture has a legacy and presence that informs visitors they are entering a "Temple of Learning," and that what they see is im_ portant and true. Such buildings can have particular significance for shaping the way Western and non_ Western cultures are perceived."

Questions

• "How does the architecture relate historically and culturally to the display?
• "Does the style of the building emphasize a cultural contrast between the "host" or custodian of the collection and the objects on display?"
• "Does the architecture assign an integrity or authority to the display or indeed undermine it?"

Space

"The space in which exhibitions are laid out is a fun- damental part of the way displays are perceived. Space does not simply refer to the physical parameters of the room in which objects are displayed, but includes consideration of the way visitor movement is directed or guided within that space. The spatial aspects of display also refer to exhibition layout, which is dis- cussed below. As Falk and Dierking (2000:123) observe, at the "level ofthe exhibit, at the level ofthe exhibition, and finally at the level of the building, the visitor's experience is influenced by the creation of space." Furthermore, as Swain (2007:226) notes, "use of space influences which parts of the exhibition are used and viewed and in which ways."

" A basic starting point for analysis is the size of the gallery or rooms in which the displays are presented and a comparison of the pri- mary and secondary exhibition areas within exhibitions. While displays in large galleries can ap- pear more grand and thus assume more importance and authority, those in small rooms can offer a "scale of viewing" that is more intimate and less intellectu- ally intimidating. Furthermore, in large galler- ies, displays can adopt a more public character where visitors get a sense of the "big picture," whereas dis- plays in smaller rooms can offer visitors a more private way of engaging with "subplots" within the larger narrative. "

Big vs Small exhibition Space

" A basic starting point for analysis is the size of the gallery or rooms in which the displays are presented and a comparison of the pri- mary and secondary exhibition areas within exhibitions. While displays in large galleries can appear more grand and thus assume more importance and authority, those in small rooms can offer a "scale of viewing" that is more intimate and less intellectually intimidating. Furthermore, in large galleries, displays can adopt a more public character where visitors get a sense of the "big picture," whereas displays in smaller rooms can offer visitors a more private way of engaging with "subplots" within the larger narrative. Related to this is the way in which large open spaces enable visitors to see the whole ex- hibition at a glance, an experience that can in itself be highlyvisual or esthetic. In this sense, large spaces can be seen as more impersonal, focusing on the presentation of grand authoritative accounts, while small galleries offer "stories" that can be engaged with on a more personal and questioning level."

" Viewing rows of artifacts in large galleries, for example, endows these objects with a sense of detachment where they are seen as representatives of a wider historical sequence or system. In contrast, viewing one statue in a small room can result in the object being perceived in a more familiar way and suggest the culture represented was less formal than assumed. "

Lined up objects vs non systematic display

"Similarly objects lined up along the wall in long thin galleries can encourage visitors to walk past in a parade-like fashion and imbue the collection with a sense of formality and military-like structure. The same objects presented in a less systematic man- ner in a circular space can encourage a less detached impression of the culture being portrayed. In this sense, visitors might feel more connected to cultures represented in such a way and, accordingly feel more comfortable about judging their attainments."

Questions

• "What is the size and shape of rooms used? "
• "Is there a clear demarcation between primary and secondary display spaces?"
• "What kind of entrance space is used?"
• "Are different parts of the collection accorded dif[erent types of rooms?"
• "Are the rooms of equitable size with other galleries displaying related collections? Do visitors see the entirety of displays at a glance or are some displays obscured so as to enhance their impact?""

Design, Color, Light

Architecture

"A critical factor in display analysis is the "look" or design quality of the galleries and rooms in which exhibitions are presented. This aspect of display is important because styles of decoration can situate or contextualize the objects on display or, alternatively clash or contrast with the exhibits. In historic build- ings, design schemes that have been retained to complement the architecture can be incompatible with the message of the exhibition and imbue the objects with a sense of discordance. "

Gallery interiors

Ceiling

"classically inspired ceilings can assert the esthetic appearance of antique statuary or emphasize the per- ceived "primitive" qualities of indigenous art."

Interior Design elements

"Interior design elements are also important in conveying a sense of atmosphere, with more ornately decorative schemes providing a visually appealing setting that in itseH can be a feature of the display and neutral schemes im- parting the collection with a more modern "minimalist" feel."

Furniture

"Display furniture is also relevant here as cabinets, shelves, plinths, pedestals, and stanchions can situate objects and cultures within a particular intellectual framework. For instance, historic wooden cabinets can deflne objects as curiosities. Ultramodern de- signer cases in steel and glass, in contrast, can impart objects with an identity as commodities-encourag- ing us to see them like consumer products in a shop window."

Questions

• "Is the collection housed in a major gallery endowed with strong design features, or in a smaller room or set of rooms with less ornate decoration?"
• "Have new decorative elements been introduced in association with the installation of the collection?"
• "How does the decoration relate to the objects on display?"
• "Has a style of decoration been used to enhance the esthetics of the display?
• "How are the ceilings, floors, and walls decorated?