State University of New York College at Buffalo - Buffalo State College Digital Commons at Buffalo State Museum Studies Theses History and Social Studies Education 5-2017 Controversy in 20th Century Museum Exhibits: A 21st Century Perspective Jennifer K. Weber [email protected] Advisor Cynthia A. Conides, Ph.D., Associate Professor of History & Social Studies Education, Director of Museum Studies First Reader Cynthia A. Conides, Ph.D., Associate Professor of History & Social Studies Education, Director of Museum Studies Second Reader Nancy Weekly, M.A., Head of Collections at the Burchfield Penney Art Center Department Chair Andrew D. Nicholls, Ph.D. Professor and Chair To learn more about the History and Social Studies Education Department and its educational programs, research, and resources, go to http://history.buffalostate.edu/museum-studies-ma. Recommended Citation Weber, Jennifer K., "Controversy in 20th Century Museum Exhibits: A 21st Century Perspective" (2017). Museum Studies Theses. 12. http://digitalcommons.buffalostate.edu/museumstudies_theses/12 Follow this and additional works at: http://digitalcommons.buffalostate.edu/museumstudies_theses Part of the Archival Science Commons, and the History Commons State University of New York College at Buffalo Department of History and Social Studies Education Controversy in 20th Century Museum Exhibits: A 21st Century Perspective A Thesis in Museum Studies by Jennifer Weber Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Arts May 2017 Approved by: Cynthia A. Conides, Ph.D, Associate Professor, Department of History and Social Studies Education Director Museum Studies Advisor Andrew D. Nicholls, Ph.D. Chair and Professor of History and Social Studies Education Kevin J. Miller, Ed.D. Interim Dean of the Graduate School Weber i Table of Contents Abstract ........................................................................................................................................... ii Acknowledgements ........................................................................................................................ iii Chapter 1: Introduction ................................................................................................................... 1 Chapter 2: Literature Review .......................................................................................................... 4 National Endowment for the Arts “Culture War” ....................................................................... 4 “Sensation” ............................................................................................................................... 10 Chapter 3: The National Endowment for the Arts (NEA) ............................................................ 15 NEA Background ...................................................................................................................... 15 Cultural Context ........................................................................................................................ 17 The Controversies ..................................................................................................................... 21 The Fallout ................................................................................................................................ 46 Modern Point of View of Each Artist ....................................................................................... 49 How the Modern Point of View Displays that Changing Culture Changes One’s Views on Controversies ............................................................................................................................ 54 Chapter 4: “Sensation” .................................................................................................................. 59 “Sensation” Background ........................................................................................................... 59 Cultural Context ........................................................................................................................ 71 Exhibition in England ............................................................................................................... 73 Exhibition in Brooklyn ............................................................................................................. 76 Effects/Fallout ........................................................................................................................... 83 How this Points Out that Two Cultures See Controversy in Different Factors ........................ 89 Chapter 5: Conclusion and Why All of this Matters..................................................................... 91 Work Cited .................................................................................................................................... 95 Figures Cited ............................................................................................................................... 105 Weber ii Abstract This paper examines how museums can be impacted by public responses to their exhibits. This is accomplished by studying two specific contexts from the late 20th century: first, observing the changes and influences that occurred over a relatively short period of time involving the National Endowment for the Arts funding in the late 1980s, and another compares the social responses to the same exhibition, “Sensation” as shown in two different countries. The social and political responses to museum exhibits can play a huge role in how the exhibits, the museums, and the artists are viewed. This can have long-lasting consequences for those involved. Twenty-first century museums have a different approach to controversial exhibits than museums of the past had. Instead of remaining neutral or avoiding controversy, twenty-first century museums use some exhibits to ensure that social issues remain a topic of discussion. Weber iii Acknowledgements I would like to take the time to thank both Dr Cynthia Conides and Nancy Weekly for their patience and advice throughout the process of writing this thesis. I know that this would have been impossible without their guidance and I am extremely grateful. I would also like to thank my family and friends who had to deal with me throughout this process. They helped encourage me when I was feeling that this thesis was going nowhere and were able to help encourage me to finish it on time. Weber 1 Chapter 1: Introduction People love a good controversy. The bigger the better. Controversy sparks interest, conversation, and people normally have strongly held beliefs at stake; beliefs that in their defense fuel the social reactions, the interest, and conversation. We allow ourselves to be wrapped up in those events, we allow them to consume our thoughts for a period of time and then normally they fade back into the distant past and not thought about again. The fact that controversies often fade into relative obscurity means that it is easy to overlook the impact that social context plays in what we see as controversial. Social context can be very subjective and dependent on time period. Continuing that train of thought, it should be of no surprise that things that were deemed socially acceptable at one point within one social context might not be seen as acceptable within another. Certain dynamics including what political party is in power, the state of the economy, and the social movements occurring at a particular time all play a huge role in how people react to the world and events around them, often without people even realizing the source of their reaction to a certain trigger. People will react differently based on their experiences even if something is happening at the same time. So, while one person might react really positively to a piece of artwork, someone else might react really poorly due to their individual experiences within the larger social context. Museums are the preservers and presenters of material culture; as community institutions museums often receive public scrutiny and responses to their programming and exhibits. Whether displaying ancient cultures for modern audiences or displaying and interpreting modern material culture —including art— for a wider audience, museums are open to public perceptions and reactions. Museums are not immune to controversy and the public’s changing viewpoints. Weber 2 In fact, museums, can easily find themselves at the heart of a controversy. Therefore, it is something that museums need to be aware of and prepared for. Knowing the controversies that have plagued museums in the past and understanding their genesis including their social contexts, can help museum professionals in identifying potential issues for the future and will help them prepare for the potential fallout that may come from a publicly generated controversy at their institution. Museums are often dependent on charitable foundations and individual donors to help cover their everyday costs. Public controversy can act as a threat to that funding. It can also spark new interest, bringing awareness to the organization and its mission. There is a fine line that the organization needs to walk in order to protect its future and remain true to their mission. Knowing the factors that have impacted museums in the late 20th century, the debates and controversy that have shaped museums’ interactions with the public can help shape future decisions. Funding is always a concern for museums