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Gallery One, Cleveland Museum of Art by Anne Helmreich, Jessimi Jones, and Jason Jay Stevens

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Gallery One, Cleveland Museum of Art by Anne Helmreich, Jessimi Jones, and Jason Jay Stevens Exhibition Critiques: Gallery One, Cleveland Museum of Art by Anne Helmreich, Jessimi Jones, and Jason Jay Stevens Gallery One Critique commentators have observed, art Anne Helmreich is Senior Program museums are embracing this task at a Officer at the Getty Foundation and by Anne Helmreich moment when arts education in K-12 Associate Professor, Art History, schools is being cut because of declining Case Western Reserve University he Cleveland Museum of Art’s budgets that have become particularly (on leave). She may be contacted at Gallery One has recently garnered [email protected]. acute in the post-recession era. At the a number of media prizes and T same time, the digital has transformed much attention from the field, as this Jessimi Jones is the Bernsen both the education and entertainment series of articles attests. Gallery One Director of Education at the sectors, and museums realize that their opened in January of this year, and is part Philbrook Museum of Art. audiences have come to expect museum of the museum’s larger renovation and She may be contacted at content delivered electronically via [email protected]. expansion project that began in 2002. easily accessible means. This has placed Located in the Marcel Breuer designed considerable pressure on museums, Jason Jay Stevens is Principal, education wing of the museum, which particularly in education departments; as Flutter & Wow Museum Projects received extensive upgrades during the the 2012 Museum Edition of the Horizon in Detroit. He may be contacted at first phase of the project (c. 2002–2006), Report indicates, “museum educators [email protected]. the space that currently houses most of do not have the training, resources, or Gallery One was the last in this wing support to address the technological to open to the public. This afforded opportunities and challenges they face” If you would like to comment the museum a long planning period for (p. 10). For art museums, the rapid rise on this article or others in this Gallery One, and eventually the project of the digital has also caused intense issue, please log on to the NAME drew upon staff from the Information internal debates driven by the question: listserv at http://groups.yahoo. Technology, Design, Curatorial, and if we provide audiences with the digital com/group/NAME-AAM/. Education/Interpretation departments. technologies they desire, will they no The result is not only prize worthy but longer engage with the art object itself? also a lesson learned for the field in terms of flexibility. With this question in mind, it is worth remembering that while much of the buzz The Education department at the in the museum world around Gallery Cleveland Museum of Art has a long, One focuses on the “Collection Wall,” a distinguished history. In 1931, the forty-foot multi-touch screen described by museum hired Thomas Munro, a follower the museum as the largest in the United of the educational theories of John Dewey, States, much of the gallery is given over as the curator of education, a position to the presentation of physical artifacts. he held until 1967. Just as Munro’s The museum considered many different publications, such as The Arts and Their concepts and designs for the space, Interrelations (1949), offer a snapshot including an immersive theater, a design of current philosophies of art at the based on the concept of a Wunderkammer time, including notions of evolutionary (the historical origin of museums), and an progression, Gallery One offers an insight installation by a contemporary artist, but into the predilections of our time. finally decided on a tripartite division of the space in order to accommodate three Foremost among these are audience programs: “Studio Play,” aimed at young engagement, which includes attracting children and families; a central gallery new and diverse audiences. As numerous 91 EXHIBITIONIST FALL '13 one of the most critical ones made about the gallery. An artist’s installation, while initially attractive, could quickly appear dated. Giving the entire space over to technology could be fiscally irresponsible given how quickly technology changes. Through ArtLens visitors’ potential questions, such as “Where was this Made?” and “Where is it From?” So the hybrid approach taken here may are answered through visual and textual explanations. Photo by Anne Helmreich. be the most judicious. I add a caveat here: the most judicious if the collection data used to populate the interactive displays is both clean (i.e. error free) and separate from the presentation layer itself so that it can be repurposed and re-used in the future with different interfaces. Flexibility is critical to the current and future success of this installation. Space does not permit me to describe each of the thematic displays housed within Gallery One, so I will focus on drawing out a few key points that complement those found in the other critiques of Gallery One. Most significant, given the popular reception of Gallery One, is to reinforce that while technology is an important part of its interpretative program, it is not the only strategy “Railing Pillar,” as contextualized by the “Where Do Stories Come?” from ArtLens. deployed to help museum visitors engage Photo by Anne Helmreich. more meaningfully with the objects on display. The Gallery’s sub-themes, for (continued from page 91) devoted to a thematic presentation of art example, are framed by wall labels, most works from the collection, intended to of which pose a question, as in the case prepare the visitor for exploring the other of what I found to be one of the most galleries of the museum; and a set of successful themes: “How does Art Express interactive displays capped by “Collection Identity?” While this particular theme did Wall,” which features digital surrogates of not include an interactive technology, it museum objects. makes apparent to the visitor meanings of works of art that might not be So, while Gallery One may have immediately obvious. come to be associated with innovative technology—and I will return to this It also brings together a provocative point in a moment—it is built around the juxtaposition of objects that includes A display of objects and themes that can be Child’s Throne (1822) by Pierre-Marie changed. This decision may, in fact, be Balny le Jeune, Anne Frank (2007) by 92 EXHIBITIONIST FALL '13 The Education department at the Cleveland Museum of Art has a long, distinguished history. In 1931, the museum hired Thomas Munro, a follower of the educational theories of John Dewey, as the curator of education, a position he held until 1967. Frank Mayerson, and The Red Light Visitors are given further opportunity (1972) by George Segal. This theme also to identify favorite works of art and to invites the viewer to think about the work explore thematic content via “Collection of art beyond surface resemblance to the Wall,” which offers curated themes by external world, which is the conceptual which the over 3500 works of art from framework that tends to dominate several the collection are subdivided. In addition, other themes (e.g.,“How do our Bodies from the vast array displayed before Inspire Art?” and “What does a Lion them, visitors can identify works of art Look Like?”) and threatens to reduce the on view in the galleries and transfer their cultural complexity of the artifacts. selections to an iPad in order to create their own tours. (Visitors can download While the thematic displays are not solely the app to their own iPad or borrow one dependent upon interactive technology from the museum.) Given the museum’s in order to produce meaning, the strengths in visitor surveys, one hopes interactive displays, called ArtLens, do that the institution is tracking the use offer enriching and multi-layered content of the iPad app in the galleries to assess So, while Gallery that would be otherwise difficult to the relationship between “Collection One may have convey in traditional gallery installations. Wall” and the other features of Gallery For example, “Where do Stories Come One, and the experiences visitors have come to be From?” includes a culturally diverse range in the galleries. Indeed, do visitors feel associated of objects and each is contextualized in encouraged by Gallery One to visit other the accompanying ArtLens. Here, visitors’ spaces in the museum, or has Gallery One with innovative potential questions, such as “Where was satisfied their curiosity? technology… it is this Made?” and “Where is it From?” are answered through visual and textual The physical layout of the museum built around the explanations. enhances the complexity of the question of whether Gallery One drives visitors display of objects However, not all the ArtLenses offer a to the rest of the museum. While Gallery and themes that more in-depth or focused engagement One, situated near the main entrance, with the work of art. For example, the occupies prized real estate within the can be changed. Sculpture Lens, which accompanies entire museum complex, it is at some This decision may, “How do our Bodies Inspire Art?” invites distance from the rest of the galleries, viewers to scrutinize themselves more. separated by the recently enclosed in fact, be one of Here visitors are asked to adopt the poses atrium. From Gallery One there are no presented in the digitized works of art. direct sight lines to the main galleries the most critical Given human nature, do we find ourselves themselves—no art work, glimpsed down ones made about looking more closely at the sculpture or a long corridor, beckoning the visitor ourselves as a result of the opportunity to explore. the gallery. to see our mimicking behavior on screen? That said, the display engages Despite the uniqueness of the physical in a teaching technique—modeling— situation of Gallery One, the question of that is often the most effective way to how effective such interactive interfaces communicate complex concepts.
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