What Is the Object of This Exercise? A Meandering Exploration of the Many Meanings of
Objects in Museums
Author(s): Elaine Heumann Gurian
Source: Daedalus, Vol. 128, No. 3, America's Museums (Summer, 1999), pp. 163-183
Published by: The MIT Press on behalf of American Academy of Arts & Sciences
Stable URL: http://www.jstor.org/stable/20027571
Accessed: 14/09/2010 21:29
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Heumann
Elaine
Gurian
What is the Object of this Exercise?
A Meandering Exploration of the
Many Meanings of Objects in
Museums
did the
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"To
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they had so little ammunition
not military
targets?"
this
students
graduate
their
break
serbs
spirit,"
is always
and other
historic
and these
I routinely
ask my mu
I lecture.
when
question
the
answer.
instantaneous
I
institutions
of memory,
historic
Museums,
sites,
are
a
evidence
the
would
the
of
of
contend,
tangible
spirit
And while
the proponents
of museums
have
civilized
society.
of life, they have
that museums
add to the quality
long asserted
not
understood
by
the
students
(as the graduate
how profound
of war)
example
was.
"quality"
Similar
examples
did when
even
and
confronted
central
that
museums
the relationship
reveal
between
in
did
the
Russians
detail.
"spirit"
Why
proclaim,
sharp
one day after
the Russian
r?volution
had succeeded,
that all
were
even
monuments
to
historic
be protected
though
they
czar
most
the
hated
and
the
church?
did
often
Why
represented
and
and
Hitler
Stalin
establish
art and
then
sending
the formerly
Why
Elaine
shows
lists of acceptable
and unacceptable
to proclaim
in museums
them while
acclaimed,
now
forbidden,
did the Nazis
stockpile Jewish material
Heumann
is acting
Bloomfield
163
install
Hills,
Gurian
Michigan.
director
of
the Cranbrook
art
to storage?
and force interned
Institute
of
Science
in
164
Elaine Heumann
curators
Gurian
to catalog
and
to the eradicated
museum
accession
to
it, intending
I was
when
a
create
in the
rural
Jews? Why,
was
I taken to hidden
the Philippines,
closets
that
as museums,
served
curated
tribal
the
members,
by
holding
material
of the tribe's
immediate
from
secreted
the
dealers
past,
sums for the same material?
who were
great
offering
mountains
of
In adversity
it is understood,
and protagonists
by antagonists
to do
that
the
evidence
of
has
central
alike,
history
something
with
the spirit, will,
and
of
and
pride,
identity,
civility
people,
such material
lead to forgetting,
broken
may
destroying
same understanding
and docility.
This
is what motivates
spirits,
to create
cultural
and ethnic communities
in
their own museums
that
to tell
order
their
in their
stories,
own
to themselves
way,
and
to others.
Yet
concert
nor its sibling workers
in
profession
of collective
memory
(archives,
libraries,
so forth),
I would
and
makes
(nor,
contend,
the case clearly
its institution's
about
connected
storehouses
halls,
understands)
ness to the
the
the museum
neither
the other
soul
of civic
life.
In cities
under
duress
you
can hear
case
better
and governors.
Dennis
by mayors
being made
the mayor
said recently
while
of Detroit,
inter
being
on the radio,
to be a great city, needs
in order
"Detroit,
to protect
its great art museum,
the Detroit
Institute
It
of Art."
was Archer
and his predecessor,
Coleman
who
cham
Young,
Archer,
viewed
and underwrote
pioned
seum of African
American
fabled
nent
former
of
mayor
the creation
of
the
are
survey
in Detroit
incarnation
History.
the
Kolik,
Teddy
the chief propo
one
(and who
placed
the building). Mayors
Citizens,
people
do
the
of African
list and much
important
do not
have
People
importance
its support.
The people
over
American
or
feel
who
the proper
to use
that
work
definition
their
know why
too.
implicitly,
to rate the importance
tutions to their city and then tell which
Museum
Mu
was
who
Jerusalem,
the Israel Museum
important.
asked
of Detroit's
it was
And
of
of his two offices within
museums
latest
recent
A
of
insti
they had visited. The
was
listed
the
"I have
very high
visited"
list.
the museum
in order
to assert
its
tax dollars
are being
History
lower on
in museums
and
role
have
of
well
on
spent
struggled
collectively
their institutions.
Their
in
The Many Meanings
The
objects
resulting
and
their
tution
often
from
collective
I believe
other
memory.
on
centered
uses.
permissible
things?on
has
debate
the
(the soul, if you will) of the insti
the essential meaning
missed
of
storehouses
have
definitions
museums
to differentiate
in part,
other
has been,
struggle
near
relatives?the
165
inMuseums
of Objects
is the museum.
that
OBJECTS ARE NOT THE HEART OF THE MUSEUM
The
following
element
central
to capture
will
that soul by
attempt
over time.
the shifting
role of museum
objects
even
as
elusive
remain
the
are,
objects
they
museums.
within
all definitions
of
embedded
discussion
throwing
light on
It will
show how
also postulate
essay will
and
the
associated
object"
that
This
tion,
fluid
vide
of
preserva
acquisition,
practices
and interpretation
have always
been
care, display,
study,
so recently.
more
not
did
and have become
pro
Objects
museum
in the past,
bedrock
the definitional
although
I will
did.
show
that museums
staffs
thought
them
to justify
their work.
any longer
is not
if the essence
of a museum
But
they
I propose
memories
and
that
then where?
stores
form.
sensory
memories
and
I propose
that
membrances?are
contend
that
institutions
tions
than
of a "museum
the definition
(like
It
the answer
presents
is both
the
and
to be found
is in being
organizes
stories
told
physicality
therein
that are
these
two
essential
not
the
exclusive
blurring
of
the
may
important.
ingredients?place
to museums.
And,
in some
and
the
Further,
and re
I
finally,
between
these
and other
of memory
separate
seemingly
is a positive,
malls
and attractions)
shopping
negative,
need
in its objects,
a place
that
meaning
of a place
distinctions
not
institu
rather
development.
to denigrate
of mu
the immense
importance
am
I
that
like
care,
objects
postulating
they,
are
a
are
not
in
brilliant
but
alone
suffi
necessary
props
play,
out
cient. This
that we
have
essay
points
something
always
issues
revolve
that
the
known
around
the
intuitively:
larger
Not
meaning
seum
stories
and
museums
their
tell and
the objects,
carefully,
an
with
stakeholders
the way
they tell them. When
parsed
a variety
in their tangibility,
of
provide
to
and
debate
the
opportunity
meaning
166
Elaine Heumann
control
of
rather
than
This
their
fight
that
so
them
important,
them.
over
that
important
in
people
IS AN OBJECT?
"Ah, but we have
say when
touting
in museum
began
the
of
1960s
late
to
used
professionals
their
contained
always
we
which
justified
pivot
there were
I
occupation.
and early 1970s,
the
to the object
reference
our other
activities.1
When
our
other
parts of the definition,
always
came
our
in
it
With
lay
owning
objects.
for the attendant
its pres
acquisition,
responsibility
were
and
We
safety,
study,
interpretation.
display,
nonetheless
security
privileged
ervation,
like priests
were
was
used
ine," "actual."
and were within
our
the museums
and
definition
Words
museum
thing,"
the uniqueness
in the
work,
around
Although
The
the real
of museums
definition
as
is the
of the story,
ownership
the
has
been
all about.
itself,
dispute
museums
are
not
not
what
(or
suggests
exactly)
are
continues
the dialogue
about what museums
essay
WHAT
It
memories.
the object
and, therefore,
and what
makes
extremis
Gurian
of objects
like "unique,"
The
reliquaries.
easy.
were
They
"authentic,"
that were
collected
things
the natural,
cultural,
the
real
stuff.
"original,"
"genu
had significance
or aesthetic
of
history
the
known
world.
It often meant
than one meaning.
real had more
course,
"one of a kind,"
"an example
it also meant
but
of." Thus,
were
but
artworks
farm
one-of-a-kind,
eighteenth-century
imple
ments
have
been
made
may
Things
by hand were
examples.
Of
but manufactured
unique,
almost
ral history
world,
specificity
as to location
In the natu
examples.
were
but had
specimens
examples
found. Yet some could also be unique?
items
became
all
the last passenger pigeon or the last dodo bird. Objects
both
were
and
unique
categories,
example,
Museums
owned
the objects
collections.
of preserving,
and
studying,
sponsibility
even
Yet
within
these
In asserting
was
authorship
variations.
cific
paintings,
but not with
easy
seemingly
uniqueness
associated
others,
(as
with
most
accessioned
and
took
the
the
re
on
them.
displaying
there
categories
in made-by-hand),
some
objects,
especially
from
into
utilitarian
were
such
spe
as
works
The Many Meanings
thought
often
"art"
in some,
Some
unknown.
as
some
and
art was
research
WHAT
as
of
exceptions,
not. This
do
were
makers
whose
of Objects
not
craft
was
to
it possible
of particular
artists
made
cultures.
all,
In the early 1970s the American Association
an Accreditation
Commission.
liberated, they discussed whether
called
collections
should
lected"
ums"
but
ARE COLLECTIONS?
established
be
167
were
unique works
some notable
with
"craft";
as to maker
individualized
is now
which
practice,
changing,
and mount
shows
of the work
but
inMuseums
were
be
and
conserving
institutions
as museums.
things
(AAM)
its members
de
groups of living things could
whether
classified
of Museums
As
never
that had
no longer, alive. The field debated
that
so
Heretofore,
been, or now
"col
"muse
were
if the living things in botani
or animals
in aquaria,
in zoos were
"collec
gardens,
were
It was
if
museums?
those
de
so,
tions";
institutions,
facto,
decided
and accreditation
pur
that, yes, at least for funding
were
and
the
cared
for
museums,
poses,
they
living things
they
fish
cal
were
there were
Yet
as collections,
and
regarded
other
institutional
repositories
to be
likewise
and
protected,
preserved,
nor
called museums
Archives
considered
objects.2
cared for,
not
but were
that
about
taught
"objects"
as siblings.
by museums
were
rare-book
collections,
even though
some museum
treated
necessarily
and
libraries,
especially
but not siblings
related
collections
hence
contain
the
commercial
materials.
identical
and
There
and
were
collections
corporate
private
galleries
to be different
considered
by museum
professionals
outside
the field,
by an underlying
separated
supposedly
was
of "not-for-profit"
considered
pose. A legal distinction
a
museum.
was
of
of
It
essential
the
definition
clear
part
while
the
formed
foundation
which
necessary
upon
objects
were
definition
of
a museum
might
rest,
they were
not
sufficient
also
that
and
pur
an
that
the
in
themselves.
CAN NONCOLLECTING
The
Accreditation
determine
if places
INSTITUTIONS
Commission
that
resembled
of
BE MUSEUMS?
the AAM
next
collections-based
to
sought
museums
168
but
Elaine Heumann
also
not
did
leries
and
hold
like not-for-profit
places
gal
for purposes
of accreditation,
In 1978,
in some
that,
instances,
they decided
museums
be considered
like museums,
because,
collections
cultural
not
did
they
stances,
There
was
science
centers
no
(i.e.,
centers)
were,
displayed,
own
them.
and
museums.
could
galleries
cared
for,
they
Gurian
preserved
even
objects
in
therefore,
Ownership,
museums.
though
some
in
longer defined
also the conundrum
and
to the profession
brought
by
of the mid
museums,
mostly
in the century,
these
had
places
children's
Earlier
century.
and displayed
but by mid-century
children's
collected
objects,
museums
were
centers
and science
and
creating
proliferating
new public
material
that was
built
experiences,
using exhibition
for the purpose
and omitting
collections
objects
specifically
twentieth
were
to be con
How
these "purpose-built"
objects
altogether.
times
often
sidered? They were
three-dimensional,
unique, many
no
in
well
had
the
but
outside
cognates
made,
they
extremely
world.
the
Much
of
this
and
activity
exhibit
was
material
function
of
"real"
the
to demonstrate
built
(and
now
inactive)
it.
beside
sitting
machinery
to the AAM
for accredita
The Adler
Planetarium,
applying
to reconsider
the AAM
the definition
of
also
caused
tion,
museum.
was
The
jected
stars
jects,"
were
object
planetarium's
a ceiling.
onto
If institutions
museums?
these places
Had
a definition
crafted
vertently
those
that were
things
to museums?
ported
commissioned
depression
accessionable
not
define
In 1978,
these
three
That
site-specific
period
works
of
created
was
not
the case
relied
on
applied
of art?an
easy
call!
a
pro
"ob
such
and were
then
trans
in art museums
the murals
Certainly
museum
to
walls
directly
Commission
of
that
the profession
inad
was
to
that
restricted
work.
objects.
the Accreditation
different
objects
elsewhere
a machine
Portability,
of
noncolkctions-based
that
of
the
were
then,
did
the AAM,
citing
institutions
types
science
and plan?tariums),
and technology
centers,
(art centers,
museum
wrote
for each type of
and, by amending
language
specific
of collections
for each group,
declared
these types
its definition
to be . . .museums!
elaborated:
"The
of organizations
They
is considered
existence
of collections
and supporting
exhibitions
The Many Meanings
but
desirable,
museums
many
one
their
set about
for accessioned
rial?and
they
governed
by
classes
there were
of
another
that
teaching
The
deserving
longer obtainable
Even purpose-built
models
synagogue
and
had
or
intriguing
later, become
the
exhibitions
parts
of
Charles
those
objects
Children's
oth
Museum
contained
1960s,
Native
Americans.
were
rare
become
are
of
created
and
easy
But by
the loan
such
have,
the Diaspora
in Tel
such
as the
Aviv,
that
craftsmanship
themselves.
objects
by distinguished
Eames's
exhibit
Ray
no
valuable.
in cases
of
collections'
and
of Numbers
Dioramas
artists,
Mathematical
they,
So, too,
such as
A
and Beyond.
often
built
a museum
for
to put
order
be
between
and
in the
in the Museum
have
World
distinctions
Boston
"environments"
so
decades
material
should
was
the remaining
material
retired
from
into the collections
accessioned
it was
because
1980s,
and
become
mate
exhibitions
handkable
easy
collections'
preservation.
for example,
created
boxes,
to-obtain
material
about Northeast
the
the
no
often
loan
boxes
for
(their teaching
collections)
set of criteria
as well.
a different
Nevertheless,
the handkablity
ers
creating
169
. . ."3 In
response,
one set of rules?
disabling.
more
than
and
objects,
to understand
began
in their
used
is not
absence
inMuseums
of Objects
exhibition
in context.
hall
in
These
animals)
objects
(mostly
display
were
a craft at the time
which
considered
techniques,
they were
were
of such beauty,
and displayed
artis
created,
occasionally
so
tic conventions
of realism
that
(and seeming
realism)
special,
the
dioramas
themselves
have
become
today
original
"objects,"
are subject
to preservation,
and many
and special
accession,
The
display.
definition
to
therefore,
expanded
for the museum
itself.
WHAT
IS REAL?
In the
nineteenth
of
suitable
objects
include,
in special
IS THE EXPERIENCE
century,
some
museums
held
by others.
People
material
had
and studies.
The
plaster
castings
rooms
to copies
had
devoted
of
the museum
did not own. The originals
situ or were
collections
has,
built
THE OBJECT?
sculptural
museums
that
for
cases,
came
and
Louvre
famous
either
to see,
displayed
and other
sculptures
in
remained
study,
and paint
Gurian
Elaine Heumann
170
ac
were
with
the respect
treated
They
reproductions.
museums
For a long
and
their
the real thing.
time,
there were
between
differences
have
felt that though
publics
their
both had a place within
and reproductions,
the "original"
these
corded
walls.
reconstructed
dinosaurs
of
skeletons
have
long
of the
They
usually
of
owned
the species
plus the casting
by the museums
someone
owned
the same
bones
from
the missing
species
by
museums
out which
is real and
Sometimes
else.
part
point
not.
is cast, but often
takes on
do
which
therefore,
"Real,"
they
Similarly,
appeared
of
bones
a combination
are
in museums.
new meaning.
Curators
recognize
is more
skeleton
the whole
"real,"
that
and
the
experience
more
certainly
of
seeing
informa
bones
that do
unattached
the authentic,
tive, than seeing only
or understandable
not add up to a complete
image.
or limited
were
editions
consid
Likewise,
always
multiples
was
as
as
of the artist
the intention
ered "real"
respected.
long
the
Thus,
fact
that
multiple
production
one any
less real
and
Rodin
of
or
many
did
pieces
some
less
The
authorized
others
not
seem
creation
to make
the
each
of
additional,
but
the same etching
using
plates,
But
caused more
often,
problems.
also
such works
the facts of the edition,
acknowledging
was
were
accessioned
if
in museums
the
and,
good,
quality
their collections.
unique.
still
limited,
copies,
though
of the artist,
after the death
while
hung
into
IS THE
IMAGE THE OBJECT?
has made
invention
of new technologies
century's
norm
is
real
and what
what
and
made
the
determining
multiples
of
difficult. While
that means much more
movies,
prints
original
thinks
it is the moving
for example,
exist,
image that the public
The
twentieth
of as the object
of authenticity
(e.g.,
image
contents
of
Printed
and
rather
revolve
colorization,
than
the master
around
subsequent
or cropping)
cutting,
canister.
any particular
with
identical
editions
nals,
are considered
less
of
rather
than
the
are considered
origi
multiples
if
editions
valuable,
signed;
unsigned
In such
less valuable.
"real"
and certainly
more
become
film. Questions
of the
manipulation
print
The Many Meanings
one
cases
becomes
may
tive
be
but
171
inMuseums
of Objects
rather
than the image,
could
say that the signature,
the
the object.
Photographs
printed
by
photographer
more
considered
real than those using
the same nega
else. With
of digital
the invention
printed
by someone
many
technology,
recourse
without
can be reproduced
at will
identical
images
to any negative
at all. So the notion
of authen
or uniqueness)
becomes
singularity
problematic
ticity
(meaning
as images
from
those
indistinguishable
It is the
the museum.
outside
available
the
produced
image.
It is the
in museums
artist's
itself,
image
are
easily
that
sensibility
that
is the
therefore,
object.
IS THE STORY THE OBJECT?
are
most
of the twentieth
century,
objects
in huge quantities
and therefore
could be termed
to collect
Which
of these objects
often
then de
"examples."
on
an
the object
itself but
associated
story that
pends not upon
or important.
render one of them unique
may
Of
the
utilitarian
manufactured
in
present
objects
in the main,
created
The
were,
in the physicality
unique
These
Birkenau.
bowls
sold
when
tableware
cheap
the visitor
reads
the
death
for use
of a bowl
could
camps
elsewhere.
that
of
comes
the Holocaust
is nothing
from Auschwitz
There
in shops that
purchased
at
the
time.
However,
Germany
comes
label that says the bowl
from
have
been
all over
the
the viewer,
about
Auschwitz,
knowing
something
to
transfers
the
Since
there
caust,
meaning
object.
aside from the label that makes
the bowl distinctive,
bowl
itself
but
its associated
history
that
forms
the Holo
is nothing
it is not the
for
importance
the visitor.
DOES THE CULTURAL CONTEXT MAKE THE OBJECT?
As
Foucault
meaning
and many
the
without
others
viewer's
have
lose their
objects
and
of
acceptance
knowledge
values. Without
such knowl
written,
or cultural
aesthetic
underlying
an object's
even within
its own
reification
edge,
society
be understood.
Often
the discomfort
of novice
visitors
museums
to do with
has
their
lack of understanding
cannot
to art
of
the
172
Elaine Heumann
cultural
aesthetics
Gurian
that
art
the
on
either
display
or
challenges
affirms.
By
seum
or displaying
the creators
objects,
are creating
or enhancing
these objects'
of museums
of the value
acceptance
accessioning
exhibitions
Further,
society's
likewise
selves
transfers
receive
are
from
or
gifts
aesthetic
particular
collections
in the
they
first
issue
This
to their
a major
on?a
passing
is essentially
hidden
bequests
then
inheriting?and
someone
who
A
value
house
from
when
from
cultures
because
culture
the producing
aesthetic
value
special
pieces
(i.e.,
within
tor pick objects
that appeal
This
culture?
question,
own
the objects
gave
acquiring
begin
aesthetic
might
in an American
of African
material
show
the
comes
into sharper
or presenting
collections
be different.
When
install
whose
ing a show
the curator
should
of
choice
determining
museums
focus
them
holdings,
they
set of value
judgments
from the visitor's
view.
such museums
pervades
and the collectors
who
place.
of values
value.
museums
When
objects.
donor's
of mu
based
on
the values
art museum,
inherent
in
on the objects
that attain
focusing
or should
that culture),
the cura
more
to the aesthetic
of his or her
arises
the source
of much
debate,
to include
to diversify
their holdings
attempt
a
even
an
culture
(or
assimilated)
by
foreign
of
their
from
which
the
that
different
majority
produced
quite
or
Latino
of
which
African
For example,
the selection
holdings.
or show has to do not with
art to accession
but
authenticity
when
works
museums
created
quality.
between
the
senting
selects
scholar
In material
criteria?
and by what
objects
created
artists,
by indigenous
the native
sometimes
as
itself
nity
is native
material
cultural
of
within
of
the culture
the
has been
debated
sharply
quality
the museum
and the peoples
repre
So the question
who
the maker.
becomes:
notion
The
with
disagrees
internally
to a modern
or belongs
lines. Some within
argue
tional
boundary
of the
the birthright
about
and knowledge
upbringing,
have
considerable
ations
what
are
blood
artist;
of the
that
the
crosses
population
also
tradi
quantum,
sometimes
language
artists
and
on whether
bearing
In such cases,
native.
work
that should
be housed
considered
is quality
tradition
the native
commu
to whether
their
the decision
in a museum
cre
about
may
The Many Meanings
have little to do with
of
genealogy
inMuseums
of Objects
the object itself and more
173
to do with
the
the producer.
IF YOUR
STORY HAS NO OBJECTS OR DOES NOT NEED
IS THE ABSENCE OF OBJECTS THE OBJECT?
WHAT
THEM?
Most
were
collections
interest
of
things
of nonvalued
Often
the
or
and
created
value
people who
acquired
The everyday
objects
not collected.
usually
by wealthy
to themselves.
were
subjugated
peoples
in the lowest
economic
strata
could
hardly
to exchange
their objects
for those that were more
valued,
no thought,
at the time,
to the preservation
of the dis
giving
So it goes
for most
carded material.
their most
peoples
during
historical
their museums
periods.
impoverished
Accordingly,
people
wait
must
choose
of
part
use
their
among
a narrow
history,
recreate
interpretative
band
that
techniques
not
of choices?do
the artifacts
do
tell
that
or
and
not
environments,
rely on material
evi
dence.
The Museum
more
issue
of
in Israel,
the Diaspora
struggling
decided
with
to
this
the
years
ago,
twenty-five
of five
thousand
of Jewish
years
story
migration
a
to create
It
authentic
artifact.
elected
using
single
an
in
that reproduced
illustra
physical
surroundings
complete
without
tableaux
tive manner
written
than
based
documentation
on
scholarly
of all kinds.
into
research
The museum
tell
and
pictorial
did so because
or comprehensively
not accurately
could
tell the
a presentation
of settings
that appeared
"like new"
more
of Jewish migration
the history
than an assort
authentic
artifacts
their age and
haphazard
showing
its collection
story,
honored
and
ment
of
wear.
The
but three-dimensional,
fabricated
experience,
wholly
a good public
It presented
the object.
many
experience,
as a "museum."
but still did not qualify
this
argued,
Ultimately,
was
as
a
mu
re-creation
total
accepted
distinguished
highly
seum. The Museum
of the Diaspora
also presented
movies,
in a publicly
and recordings
accessible
form,
photos,
arguing
became
a comprehensive
that
presentation
material
required
that was
non-artifactual.
The
ties
U.S.
have
African-American
suggested,
in the
and Native
same
vein,
American
that
their
communi
primary
cul
174
Elaine Heumann
transmission
tural
Gurian
is accomplished
oral
through
Their
that are ephemeral.
and
song?vehicles
or objects,
if you will,
to transmit
that wish
historical
are not
dance,
language,
central
artifacts,
at all, and museums
dimensional
or display
the accuracy
of such cultures,
is not available,
material
evidence
more
It may
diverse
material.
be the
for which
periods
to employ
learn
is the
that
performance
must
mance
space might
As museums
hall.
of
ceremonies
Such
for
chanting.
techniques,
as
core
rather
of
than
augmentation
thought
interpreta
on the role and function
have
taken
previ
increasingly
by collection
objects.
played
merly
tion,
ously
or
hear
audio
like Cleveland's
Rock
sound
more
once
used.
proper
instruments"
of
it is
Project,
Experience
soon-to-be-opened
is the artifact
of the artists
that
and performance
than the stationary
that, say, Jimi Hendrix
guitar
at the Boston
instrument
archives
Indeed, musical
of Fine Arts
Museum
and Roll Hall
Music
the
much
the
and
in museums
Even
Fame
the
for example.
And
the perfor
object,
to be indistinguishable
from the exhibit
to do this, one begins
to see videos
struggle
need
presentation
approaches
and
of
other
have
with
places
long struggled
their
"artifacts."
"Silent musical
an
oxymoron.
IS THE OBJECT TO BE PRESERVED?
IS THE OBJECT TO BE USED?
HOW
an object
in accepting
for its collection,
museum,
the responsibility
for its care. In doing
so, collections
and
follow
rules organized
for the safety
long-term
The
tion
of
the
Climate
objects.
are all issues
systems
because
while
it is true
on
managers
preserva
access
and
restrictions,
control,
care for
to those who
of concern
security
or performance
to music
Institutions
devoted
objects.
the notion
the notion
of collections
and certainly
tion,
better
takes
transform
of preserva
are
that most
things
preserved
are not among
some musical
instruments
left alone,
are preserved
if played,
and so, for example
better
them. They
at the Smithsonian's
Museum
of American
History,
they are.
when
Likewise,
accessioned
emony
and
have
native
that
many
people
argued
successfully
in the continuance
of cer
material
should
be used
tradition.
Artifacts,
rather
than
being
relinquished
The Many Meanings
to isolated
to be
for an object
a radical
notion
for most
asked
is more
now
quest
are stored
usefulness),
must
In
be
used.
they
again
from a specific
clan or group
for a short-term
use, this was
their
(and losing
time when
preservation
in trust waiting
for the
native
when
the 1980s,
people
loaned
natural
common
175
inMuseums
of Objects
and
museums.
history
often
accommodated.
re
That
For
ex
ample, at the end of the 1980s, the Dog Soldiers of the Northern
their
Cheyenne
requested
of Natural
tional Museum
after which
ceremonies,
with
collections
out
loaned
and
a storehouse
and
less
and,
material
understood
The
development.
are displayed
some
commonly,
accept
Crown
she
into
evolved
long-standing
new
this relatively
predates
of the British monarchy,
which
example
in the Tower
or
he
it in their
general
into their
objects
be
the express
that they will
understanding
a
museum
as
used when
needed.
The notion
of
as
easily
when
used
in these
in perpetuity
instances,
has,
a revolving
A
loan warehouse.
the museum
Na
Smithsonian's
holds,
History
to the museum.
it was
returned
native
hold
that
the
which
and
museums
native
Now,
museums
pipe,
Jewels
of London,
is crowned.
are worn
so
And
it has
by the monarch
for many
been
centuries.
RULES ARE USED FOR OBJECT CARE?
WHOSE
There
are
other
successfully
involvement.
notion
once
alive.
rules
fundamental
challenged
being
care
Collections
that
alive,
of
has
Thus,
sumption
that
possible,
Protective
avoiding
objects
predicated
some
Though
and most
on
that
are
people's
the basic
were
objects
had never
been
as
policies
proceeded
in the best manner
be preserved
from
should
decay
and
by
native
been
are inanimate.
objects
are no longer,
they now
collections-care
care
collections
worldwide
from
elements,
cases were
exposure,
the
and
use.
to do just
storage
coverings
designed
to light and temperature,
in the exposure
Extremes
and all
manner
were
to
But
of pest
be
avoided.
when
the
infestation,
that.
museum
was
to be neither
the only nor the absolute
recognized
to the beliefs
arbiter of its material
accommodation
of
holdings,
or their descendants
the producers
of the materials
became
necessary.
176
Elaine Heumann
These
included a lack of distinction
beliefs often
animate
and
and
sources
Gurian
inanimate.
between
fields
of power,
of the
regardless
different
"mana,"
Thus,
spirits,
an object
live within
it was made.
from which
And
that being
so, the care
was
it
and
should
is,
be, quite
living things,
argued,
or never
from
the care of dead
alive
So, for
things.
example,
does not
allow
life
material
for
these
bubble
Those
could
an excellent
while
wrap,
protector
or "singing
for breathing
and dancing
in good
native populations
with
faith
of objects,
at night."
have
working
to respect
native
come
of their own objects
and now
understanding
Some
for
the
life
of
the
need
objects
appropriate
object.
provide
some
to be fed, some need
to be protected
from their enemies,
to be
need
no
isolated
longer
women.
from menstruating
of
absolute
province
are
Collections
the
under
the
professional
un
facilities
that accommodate
the native
Storage
new
of their objects
architectural
require
designs
for ceremony
for some and isolation
from the curious
caregivers.
derstanding
that allow
for others.
OWNS THE COLLECTIONS?
WHO
use
in collections
This
change
museum
as
owner
its
of
and
care
the
opens
new definitions
of
the
door
to
These
have
ownership.
can
If
communities
determine
tribal
far-reaching
implications.
and care of objects
"owned"
the use, presentation,
by muse
or
an
can
artist?
victims
descendants
Can
the
of
the
ums,
a
war
In the recent
Na
event?
Smithsonian
of
perpetrators
definitions
multiple
of
the notion
alters
and
collections
contro
exhibition
Gay
Space Enola
who
flew
the
and
their
World
versy,
plane
II associates
War
who
controlled
the access
to,
ultimately
or
and
the
of
of,
object.
Ownership
presentation
interpretation
more
an
not
to
the
abso
does
title
convey
object
simple,
legal
I began
in the museum
field.
it did when
lute meaning
tional Museum
it was
The
and
if you buy
from a person
who
that
something
as you wish
to do with
it in the past,
then it is yours
in a number
consti
of fields. What
under
redefinition
notion
controlled
is clearly
tutes clear
be
of Air
the veterans
returned?
title? Under
What
what
is stolen,
rules
does
in any
stolen
case?
material
Do
need
the Holocaust
to
The Many Meanings
177
and the Elgin Marbles
in com
have anything
is so complex
and varied
that countries
forge
to try to determine
which
items of their patrimony
museums
be returned.
in countries
like New
Similarly,
victims'
paintings
The
issue
mon?
treaties
should
Zealand,
in some
the
inMuseums
of Objects
and Australia
Canada,
cases, give dual
native
populations
even
and
care,
return
ship to the native
to hold the objects
have
ownership
then
jointly
of
accords
developed
to collections.
control
Museums
the
presentation,
give owner
or museums
the objects,
the museum
in turn, allow
has developed
who,
populations,
in trust. Ownership
that,
and
a complex
meaning.
IF I OWN
IT CAN
Some
this
of
maintaining
museums
for human
Almost
with
I HAVE
of ownership
blurring
some
that
items
should
regardless
remains
all
IT BACK, PLEASE?
with
be
native
in
the
people
hands
of
of their history.
That
this would
be claimed
was
in collections
to
understand.
easy
do something
ceremonial
and
intentional
held
cultures
the remains
began
not
in almost
all instances,
which,
people,
on
in
bodies
for
boxes
So
shelves.
leaving
study
to
when
native
return
ances
started
call
for
the
of
their
people
an intuitive
tors' remains,
there was
of the prob
understanding
lem in most
circles.
did not make
it any easier
This,
however,
for the paleontologists
curators
and forensic
whose
life work
on the access
to these bones,
nor for the museum
had centered
does
not
of
their
include
museum
memories
had to do with
shrunken
or
human
remains.
The arguments
heads, mummies,
prehistoric
that emanated
from both
sides were
understandable
and diffi
a clear clash of world
cult to reconcile.
It was
views
and belief
To
the curators
it seemed
that removal
of human
systems.
goer whose
remains
ranted
favorite
within
museum
triumph
scientific
of
collections
cultural
and
would
tradition
the
and
advancement
result
in the unwar
emotionalism
over
of
objectivity
knowledge.
it turned out, the Native
American
Grave
Protection
and
Act
made
clear
that
Native
Ameri
Repatriation
(NAGPRA)4
can tribes had
to the return of their sacred material
and
rights
As
to their
ancestors'
less of
the method
remains
by which
and
associated
museums
grave
had
goods,
acquired
regard
the mate
178
Elaine Heumann
Gurian
rial. However,
commu
the emptying
into native
of collections
as
most
not
the
did
nities,
fearful,
predicted
Rather,
by
happen.
museums
and native
in good
communities,
working
together
as
into an easier and more
faith, moved
coll?gial
relationship,
most
In
are
care
between
the
returned
cases,
equals.
objects
and
fully chosen
to
chosen
allow
to reburial,
that could
prior
ways
wish
traditional
future
have
or
studied
saved,
their ancestors
in
reinterred
study
tribes
should
the native
com
their
of discourse
balance
view of
between
the world
a rational
endorsed
and
(which
to as much
and allowed
for access
staff
as could
be gathered)
and the spiritual
interests
of
museum
native
were
A variety
of
peoples.
practices
see
to
and visitors
the
of
exhi
began
interpretation
broadened,
bitions
changed
the
a new
and
model
information
for
allow
Some
solemnity.
to be
samples
forensic
some have
and
struck
museums
scientific
due
it.
munity
NAGPRA
most
with
returned
some
same
to include
of
side-by-side
explanations
an
exhibition
created
Wolves,
multiple
For
objects.
example,
of Minnesota,
scientific
by the Science Museum
data,
presented
native
conservation
and hunting
and
stories,
controversies,
an
in
information
An
evenhanded
way.
physiological
together
to be heard
for multiple
in
argument
interpretations
began
museums
natural
whose
comfort
level in the past had
history
not permitted
the inclusion
of spiritual
in formats
information
other
than
HOW OLD
The
anthropological
IS AN OBJECT?
scientific
often
myth.
holds
in
of artifacts
used
dating
to the believers.
little relevance
religious
When
practices
an object
dated
and
as the Shroud
of Turin,
for example,
is carbon
to be insufficiently?
shown
the
its mu
of writing
old,
problem
seum
label becomes
An
in
held
the
complex.
object
TePapa,
Museum
was
an
to
of New
iwi (tribe) that
returned
Zealand,
such
all
it, with
requested
So too went
records
variance
Maori
with
believe,
replacement
beliefs
spirit
(rendering
the
and ceremony
solemnity
appropriate.
its age and material
at
composition,
as
held by the Maori
But
the
if,
people.
or mana
to it's
from one piece
migrates
of
the
successor
indistinguishable
from
its
The Many Meanings
more
ancient
dates
equivalent),
are
or materials
sence
is as old
as
of
placement
then what
at
their
of
is the
object's
landmarks
even
Museums,
IT IS NONE
IS OFF-LIMITS.
THE OBJECT
that
es
includes
re
the
the case in Japanese
(as is routinely
is said to be dated
its inception
from
from that time. That
part of it remains
so seemingly
upset us. So even something
as dating
is up for interpretation.
not
historical
fact
cultural
elements
the landmark
shrines),
no material
even though
does
The
179
inMuseums
relevance
variance?
they say.
restoration
when
Similarly,
of Objects
in
earliest
their
rational
and
OF YOUR BUSINESS
as
incarnations
cabinets
of
were
to all interested
available
eyes or at least to
curiosities,
owners
to have access
In
the
of the cabinets.
those allowed
by
was
and
of
and
the
conquest
fact, part
parcel
subjugation
access
that
to
bits
interesting
was
everything
the notion
Though
(for example,
not
did
concept
If a museum
them
it came
So
native
peoples
but
native
their
own
interested
It was
concept
mately
could
that was
but material
but
the museum
people,
and
ther, under
stand
that
understood
enter Mecca),
this
thereof.
curator/
as a surprise
to some curators
that contemporary
to
on
museums
to return
make
demands
began
people
in the museum
initially
of
leadership
also
assumption
long time.
to the holdings
see it if the
could
between
negotiated
sometimes
led
came
a
nor
it, the visitors
remains
only human
secret. Accommodations
the
faithful
for
to.
not
material
that one
the
to museums
attach
owned
staff wished
This
the
subjugated.
held
currency
game
secret
and sacred was
of
one
no
of
fair
others'
as a shock
access
to the museum
museum
parties.
the beginning
of
of museum
objects.
with
agreements
access.
viewing
and
to
and
leave
The
the
notion
would
limit
curators,
voluntarily
to material
museums
owned
by
and
sympathetic
the force of NAGPRA,
was
not
all material
concerned
to
to limit
once
sacred and
the museums
the
But
system.
native
people
"It
It held
related
be made
is none
the
fur
and,
to under
began
to all
available
museums
to
under
of
your
business"
most
that the people
to the material
could
inti
deter
180
Elaine Heumann
access
to
Gurian
cer
In many
cultures
sacred
in use are available
the objects
for
too
ex
view
but that
For
may
settings,
change.
once
are
in
Torahs
desecrated
sup
tradition,
Jewish
ample,
manner.
to be disposed
in a prescribed
of by burial
Yet
posed
some of these are available
at
for view, most
the
United
notably
mine
the
emonies
are open
museum
in
States
Holocaust
that material.
to all,
and
Museum.
Memorial
when
such
artifacts
even
though
the
are
petitioned
statement
be
they make
SAYS ALL OBJECTS NEED
WHO
There
to
come
a time
may
removed
for burial
is powerful.
TO BE PRESERVED?
an issue; sometimes
is not always
it is the preserva
Ownership
tion of the object
examination.
Museums
itself that needs
have
to
fundamental
felt their most
extended
the
pres
responsibility
to the
ervation
of the object,
remains
human
yet in returning
earth,
difficult
are
artifacts
to
being
for
reconcile
more difficult was
That
destroyed.
in preservation.
intentionally
those
trained
the belief that not all things made
was
Even
by hand
some should
to be preserved;
intended
be allowed
perhaps
war
to be destroyed.
The Zuni
gods
by museums
preserved
were
to the Zuni
it was
tribe when
returned
proven
successfully
were
that
been
have
only
was
Zuni's
difficult
the
these
could
even more
were
stolen
sites. But
grave
that these objects
from
assertion
to accompany
the dead,
and that preservation
of
were
to
The war
returned
therefore
anathema.
gods
over the gradual
of
these
the Zuni, who watched
decay
objects
as they returned
to the earth.
In effect,
the Zuni were
entitled
to destroy
that the museums
had so carefully
the objects
preserved.
created
them was
The
Museum
people
good.
only
notion
of preservation
personnel
do not hold
The
Tibetan
to destroy
SPEAKS
I would
remiss
some
objects
of
preservation
Lamas who
them
THE OBJECT
be
began
has, therefore,
to wrestle
with
later would
if I did
to speak
create
not
directly
all
objects
been
notion
as
blurred.
that
all
a universal
sand
exquisite
understand
certainly
also
also
the
paintings
this.
of
the power
acknowledge
to the visitor,
in the
for example,
The Many Meanings
of Objects
inMuseums
181
about
unique
brought
by viewing
original
pleasure
But the notion
that objects,
of
per
beauty.
objects
spectacular
is under much
and meaningfully
se, can communicate
directly
academicians
of material
The
culture,
scrutiny.
anthropology,
are
in
in
and
other
fields
the ways
parsing
history,
engaged
sensual
which
is intrinsic
mation
knowledge
in cultural
In
gleaned
tradition.
some
into
inquiry
the object's
WHAT
it is because
of this parallel
contemporary
can
I
of
into
that
objects
inquire
"vocabulary"
museums.
in
role
the
definition
of
changing
ways,
the
ARE MUSEUMS
Museum
in order to figure out what
infor
objects
to the object
associated
itself, what
requires
is embedded
from another
and what
source,
decode
humans
staff
IF THEY ARE LESS OBJECT-BASED?
that museums
understand
are
impor
that the public
shares. However,
espe
understanding
not
this
for
the
does
revolve
cially
public,
understanding
always
to
around
the objects,
essential
are, like props,
though
objects
an
most museums'
thesis visible
and
purposes:
making
implicit
intuitively
tant?an
nature
of the thesis can range from explanation
of
to advocacy
to
for a contemporary
indica
viewpoint
a me
tion of possible
future directions?in
each case through
a story
in sensory
dium
that presents
form.
remain
Museums
will
for
the care of the objects
responsible
The
tangible.
the past
and collect,
but the notion
of responsibility
will
be,
they house
to
and has already
broadened
include
shared
been,
ownership,
removal
and return.
use, and, potentially,
appropriate
in the long run,
The foundational
definition
of museums
will,
not
I believe,
arise
from
but
from
and
objects,
"place"
"storytelling
congregate
into
quiry
aspirations
Coming
ums used
passes
Museums,
programs
can
where
sensory
form,"
citizenry
tangible
a
in
and in
spirit of cross-generational
inclusivity
of our past, a forum for our present,
the memory
and
for our future.
in
to definitions,
the Accreditation
back
by
all museums
in this
and
and no
definition,
exhibits
that
the
current
Program
longer
"...
use
separates
definition
of
the AAM
them
of muse
encom
by categories.
scheduled
present
regularly
and
for the
interpret
objects
182
Elaine Heumann
Gurian
a formal
have
and
standards;
accepted
use
of
and
of
collec
care,
program
documentation,
appropriate
. . ."5
tions
and/or
objects.
tangible
in
For the visitor,
it is the experience
of simultaneously
being
on
a
a social and often
while
multi
space
celebratory
focusing
public
to
according
a museum
that makes
effective.
Virtual
experience
in
home may
be enlightening
the privacy
of one's
experiences
that muse
but, I think, are not part of the civilizing
experience
ums
is
It
the
of
the
the
very materiality
building,
provide.
sensory
and
the prominence
make
for
together
of the architecture,
importance
to museum
location
that
give
place
remain
The
that
august
I believe,
space will,
Congregant
work.
of the museum's
ingredient
museums
care for,
responsibly
today's
to their presentations.
remain
central
will
cherish
cities
the
hold.
a necessary
that
objects
and
tect,
museums
that
pro
But
the definition of "objectness" will be broad and allow for every
method
possible
objects
I hope
real
uses
from
range
I have
nor
of
shown
storymaking.
hard evidence
that
objects
These
more
defined
broadly
to mere
and ephemera.
props
are certainly
not exclusively
even
(even
necessarily
"tangible"
though
For it is the story told, the message
that word).
to experience
it together
the ability
of social groups
a
museum
vide
of
the essential
making
ingredients
Museums
are
the AAM
given,
that
and
pro
important.
social-service
(not always
providers
by doing
do that), because
direct
social-service
work,
they
though many
on
are spaces
at
to
the
citizenry
large,
expounding
belonging
to contemplate
and
and stir the population
ideas that inform
occasionally
Museums
common
museums
to
act.
are not
purpose
and their
in their work.
unique
a host
of other
with
because
siblings
in
in congregant
locations
order
institutions
because
ies build
these
set
contract.
They
are
collective
we
Rather,
they share a
We
need
institutions.
need
to remain
collective
history
Societ
civilized.
they authenticate
that we were
evidence
the
here.
social
The Many Meanings
183
inMuseums
of Objects
ENDNOTES
luFor
of the accreditation
the purposes
as an organized
and permanent
in purpose,
with
tional or aesthetic
Standards
professional
exhibits
them
is de
essentially
owns
and
to the
public
Museum
of Museums,
D.C.:
American
(Washington,
a museum
the AAM,
institution,
staff, which
non-profit
cares for them, and
objects,
tangible
American
Association
lar schedule."
Professional
of
program
fined
on
educa
utilizes
some
regu
Accreditation:
Association
of Muse
ums, 1973), 8.
2".
. .owns
3An art
center
sponsibility
exhibitions."
utilizes
entific
utilizes
and
"utilizes
to their
exhibits
and
communicating
tangible
"...
and
cares
inanimate."
for
them
Ibid.,
9.
and maintains
is to plan and carry
function
[its] primary
center
science
"... maintains
and technology
for
the presentation
.. .These
knowledge.
is known
of
principal
related
and
. . .
12. A
Ibid.,
and/or
objects
technological
what
planetarium's
on astronomy
art objects,
borrowed
owners
animate
things
function
sciences
the
and
subject
is to provide
educational
information
and demonstrations."
lectures
through
5American
tation
Association
Handbook
1997), 20.
of Museums,
(Washington,
and Repatriation
and
of sci
interpretation
serve
as tools
for
primarily
matter.
..."
12. A
Ibid.,
Ibid., 11.
4Native American Grave Protection
re
out
Act
(25 U.S.C. 3002).
A Higher
Standard:
The Museum
Accredi
D.C.:
American
Association
of Museums,