Currently reading: The Value of Things – Neil Cummings & Marysia Lewandowska (August/Birkhauser, 2000)
http://mfaroundtable.files.wordpress.com/2011/03/value_of_things_intro_museum_pt1.pdf
Preface
Nick Barley and Stephen Coates introduce this publication examining of the two institutions of Selfridges Department Store and the British Museum as a web of links between retail and museum culture (commerce and museology) – art, consumerism and design. The outlined hypothesis is that the department store and museum may be heading towards a convergence.
“The department store and public museum “constitute the most privileged sites within the social organisation of all objects, images, sign and services. Both embody an encyclopaedic desire to render the whole world understandable, classified and displayed for the visitor to consume.” (p.19)
In the context of rubbish, the cycle of consumption is dependent of value assigned to objects which is addressed in this book. “The values attributed to objects are not properties of the things themselves but judgements made through encounters people have with them at specific times and in specific places.” (p.20)
Part One: Museum
This chapter outlines a museum genealogy covering guided tours (to acquire knowledge and souvenirs), the Wunderkammer / Cabinet of Curiosities – small display rooms/cupboards, display models, typologies recorded in inventories, and the Mouseion (repository for gifts to muse in ancient Greece)
The authors note that collections inaugurated desire to be encyclopaedic in the original sense of the word: to offer a ‘complete circle’ of learning.
“Collecting is a powerful tactic for making sense out of the material world, of establishing traits of similarity through fields, of otherwise undifferentiated material. […] The collection relies on a related series of technologies; ordered accumulation, cataloguing, classifying and arranging. […] To collect is to divert an object from any prescribed path or circulation, to place it to one side.” (p.29/30)
On Souvenirs: “Souvenir is a quality wrapped around an object rather than the objects itself. Souvenir gives memory to form.”
This also chapter mentions that accumulated anatomical specimens in the British Museum deemed ‘zoological rubbish’ was burnt in the gardens to make way for newly fashionable acquisitions. (p.36)
On Classification: Classification was originally ‘natural’ and ‘artificial’ which later fractured into printed books, manuscripts, artificial productions and natural productions.
Darwin’s Theory of Evolution was revolutionary as systematising natural diversity into series of developmental chains triggered reclassification centred on ordered ‘evolutionary’ display sequence.
Range of similarities included function, colour, regional distribution, form, provenance, maker, estimated age.
Exhibition
This chapter outlines a shift in modes of display in the 1860s towards isolating artefacts from neighbouring objects – with neutral backgrounds, vitrines, descriptive labels (title, provenance and/or date of manufacture and brief contextual information) – resulting in museum layout like a book with chapters, subheadings and paragraphs. A total classificatory system usurped cabinet of curiosities and objects as things of wonder (p.45). Once acquired by the museum, objects ceased to have any practical application – torn from system of exchange (p.46).
The Great Exhibition
“The Great Exhibition of 1851 triggered radical changes in the display of things. Mass-produced objects and museum artefacts were given equal status in a feast of public entertainment.” (Products of industry merge with art and entertainment.) (p.52) “The 1851 Exhibition was the medieval Wunderkammer on an industrial scale, an instrument for assessing the equivalence of all values, over all time, through the medium of display.” (p.57)