Posts Tagged ‘admission’
I was in Houston last week for the American Association of Museum’s annual conference. It was my first time attending, and I learned a lot and networked a lot. (Thanks for the fellowship Getty Foundation!) As a Californian, my perception of Houston is a bit skewed from reality. It didn’t help that my freshman year roommate was a frat boy from H-Town, who was fond of boxed wine and drunk driving. All of my conceptions of Houston were changed during my trip. Total strangers smiled at me and made eye contact (a strange thing for me). More importantly, Houston is FULL of art institutions. I managed to squeeze a major art mecca into my trip and was blown away with the amount of things I saw. (This was easy to accomplish because of Houston’s concentrated museum district.) I got to see the Museum of Fine Arts, Houston’s traveling summer exhibition Titian and the Golden Age of Venetian Painting. It was kind of dinky, and I’m glad I didn’t have to pay the extra $7 dollars to see it. What really blew my mind at the MFAH was the Carlos Cruz Diaz show (post to follow soon); I loved it so much, I saw it twice in four days.
Written by exhibitioninquisition
June 3, 2011 at 8:00 PM
Tagged with 2011, AAM, admission, American Association, Art, art mecca, black, bucket list, Byzantine Chapel Fresco, canvas, Carlos Cruz Diaz, Chapel, Collecting History, Conference, Cy Twombly, Diana and Actaeon, Getty Foundation, Golden Age, Houston, Los Angeles, Masterpieces, Menil Collection, MFAH, MOCA, museum district, Museum of Fine Arts, Museums, National Galleries of Scotland, religious, Rothko, summer, Texas, Titian, Venetian Painting
The Field Museum loves owned media particularly social media (the stuff you don’t pay for). It has a brand new website, facebook, twitter (Sue the t-rex even has her own), flickr, and yes it still has a myspace. With all this owned media, you would think they would be paying for much promotion. Despite all its social media the Field still likes to pay major ducats for marketing campaigns and advertisements. These campaigns range from creative and innovative, to downright awful (and probably grossly expensive). There was that time the loop was invaded by theme park pirate sculptures, then there was the time with unicorns into the St. Patrick’s parade, there was also that time they converted buses into wooly mammoths, and also that time they projected a mermaid on the buildings along Michigan Avenue (sorry couldn’t find a link for this one). The Field is like case study book for a marketing class.
The current temporary exhibition at the Field Museum is The Horse. The show is organized by the American Museum of Natural History (they love to rent out shows) in collaboration with The Field, as well as with the Abu Dhabi Authority for Culture and Heritage, the Canadian Museum of Civilization, and the San Diego Natural History Museum (an eclectic bunch). The marketing campaign for show can be seen in bus shelters (way popular placement for the Field), as well as whizzing past on top of taxi cabs.
Written by exhibitioninquisition
April 1, 2011 at 7:33 PM
Tagged with Abu Dhabi Authority for Culture and Heritage, ad, admission, advertisement, AMNH, Bonaparte, bus shelter, campaign, Canadian Museum of Civilization, Chicago, cost, cow, Crossing the Alps, David, DDB, exhibition, Field Museum, Gold, Horse, irreplaceable, Jacques Louis, Mad Men, mammoth, marketing, mermaid, Napoleon, owned media, paid media, pig, pirate, promotion, rainbow, Saint Bernard Pass, San Diego Natural History Museum, Sue, temporary, Trojan, Trojan horse, unicorn, website
I felt the need to be a responsible journalist blogger and actually check this place out. I’m not going to bash a museum for using sponsors (check previous post), but the Field Museum has struck me as a strange place since I came to Chicago. As a natural history museum I’m unsure as to why they organize pay to have exhibitions about pirates, mythical creatures, and Jacky O. The mission of the Field Museum (courtesy of the Field’s website):
The Field Museum is an educational institution concerned with the diversity and relationships in nature and among cultures. It provides collection-based research and learning for greater public understanding and appreciation of the world in which we live. Its collections, public learning programs, and research are inseparably linked to serve a diverse public of varied ages, backgrounds and knowledge.”
Nowhere in this mission statement is the word exhibition mentioned; so why does the Field pay so much for these questionable shows? One argument is that it gets people in the door and that the museum benefits financially from admissions from these shows. But when admission fees don’t even cover the cost of the crap plastic unicorn, I begin to question the Field, and whether it is actually upholding its mission.
The pricey cost of admission was a major factor for why I chose to go on a Free Day. Museums in Chicago are required by law to have offer 52 free days (12 of which are sponsored by Target), so I decided to take advantage of what the Field is required by law to do. It’s hard as hell to figure out when these days are because the Field (shockingly) does not advertise them, but I finally found the free days on their webpage. Also, general admission is free on these days; so don’t expect to be seeing pirates, dragons, or Gold, for free. If you want to see the special exhibitions you have to pay.
So I didn’t get to see Gold (I kept saying “GOLD!” very dramatically all day long), but there are literally acres of other things to see in the Field Museum, and not just rocks and stuffed animals, although there is a lot of that too.
The first thing I saw was Sue. She’s a T.Rex and she has a twitter. The Field Museum paid major buckets of ducats to get her, and has since made a pretty penny off of her, from tours to insane merchandise (there is HelloKitty Sue merch). Sue is effing huge, and overshadows the adjacent warring African bull elephant tableau.
It’s hard to know where to begin in the Field, but my friends and I started with the Egyptian tomb which led into the Hall of African Mammals. The Field museum rationalized this organization because, “Did you know, Egypt is in Africa?” For real there is a text panel that says this. The rooms of stuffed animals were fun, I love stuffed animals. Yes, this is a musty natural history museum tradition, but it’s also well loved. The Field has also put showrooms full of couches all over the place, so if you get tired you can take a load off and watch the baby orangutans play, it’s almost like TV!—except they don’t move. It’s not all fun and games though, there are some disturbing things happening with the stuffed animals.
For example, there is this taxidermied panda, and we all know how I feel about pandas…and this panda has a name, Sue Lin. I didn’t like that this panda had a name, didn’t like that the label told the story of Sue Lin’s life in a zoo, then Sue Lin died, then Sue Lin was stuffed and put on display in the Field. Call me crazy, but this is just too personal.
There is also some less disturbing stuff, like the short-beaked echidna. There are these text panels around the museum that offer facts about the history of the museum, and one of them informed me that the display of Australian marsupials contains some of the original animals from the World’s Columbian Exhibition. The short-beaked echidna has an acquisition number 3. How cool is that!
I like to compare how displays of the same kinds of objects from Pre-Columbian cultures are displayed in natural history museums, compared to how they are presented in fine art museums. LA’s Natural History Museum has a Visible Vault which contains the leftovers of the collection LACMA took when it succeeded. The Visible Vault couldn’t be more different from LACMA’s Jorge Pardo designed display. The Field’s Pre-Columbian display is massive and overwhelming, but has several elements that really shine. Like a video that explains through a fictionalized culture the pillars of civilization (faith, military, and money). The entrance to this display is overly dramatic though; you enter through a curving hallway full of projections of a swamp and with audio of claps of thunder. How does this mediation preface the information that follows?
Back outside in the main hallway is a floor to ceiling display of shoes, just shoes. The idea is to show that there are some things that unite all people across all of time. One of the fundamental elements of the human condition is apparently stylish footwear. From ancient Egyptian sandals, to Eskimo snow shoes, to ugly bridesmaid heels, to gogo boots, people love them their shoes.
There is a lot to see at the Field, so I can’t really cover it all in one post. I didn’t even get to cover the Grainger Hall of Gems, the Hall of Jade, the rooms full of American Indian costumes, or the spooky high-ceilinged halls full of Alaskan totem poles. There are also a lot more things to criticize believe me, but those too probably need another post.
One last fun thing for this post: There are two drastically different sets of sculptures in the Field. The first set is actually part of the architecture of the museum. In the main hall, up above on the second story, in each of the four corners, is a personification. These four women, called the “Silent Guardians” were commissioned by the museum in 1915, from the artist Henry Hering. The one pictured above holds a magnifying glass and represents Research. The other silent guardians represent Record, Dissemination of Knowledge, and Science. These four ladies are supposed to be representative of the museum’s mission…oh the mission again.
The other set of sculptures aren’t a bunch of white broads in flowing togas. The other series of sculptures are bronze ethnographic (read racist) depictions of “primitive peoples” created by Malvina Hoffman. There is no sign explaining the original purpose of these works, nor anything apologetic. The only sign accompanying these horrid bronzes reads as follows: “Look all you want, but please don’t touch this sculpture.” A brief glance at the sculptures reveals people don’t give a shit about these signs and are rubbing them a lot. The bronzes have a dark patina, except in certain places were excessive touching has worn down to reveal the metallic layers beneath. The sculpture of a female pygmy from Madagascar has clearly been getting a lot of action; her nipples are practically blinding they’ve been rubbed so much.
P.S. Did you know that a group of porcupine is called a PRICKLE of porcupine?—See, this blog can actually be educational sometimes.
Written by exhibitioninquisition
December 27, 2010 at 10:32 PM
Tagged with admission, Africa, bronzes, Chicago, Circle of Life, Egypt, ethnographic, exhibitions, Field Museum, free days, Gold, Grainger Hall of Gems, Hall of Jade, Henry Hering, holiday decorations, Jorge Pardo, LACMA, Los Angeles, Malvina Hoffman, merchandise, mission, mythical creatures, natural history, Natural History Museum, orangutans, panda, pirates, porcupine, Pre-Columbian, sculpture, shoes, short-beaked echidna, Silent Guardians, social media, stuffed animals, Sue, Sue Lin, T.Rex, taxidermy, twitter, unicorn, Visible Vault, World’s Columbian Exhibition