Monday, February 23, 2015

Little Dancer - The statue behind the new musical

Last fall, I had the opportunity to see the new Kennedy Center original production of Little Dancer, inspired by Edgar Degas' statue: Little Dancer Aged 14. So naturally, I had to follow up with the production's sister exhibit!



A bit late (ok, a few months...), I headed over to the National Gallery of Art before the exhibit's closing weekend (sorry, it closed February 8th, but I was slow to post).



And, of course, I had to stop and take a picture of Mercury in the Rotunda. I love that the flower arrangements around him are always changing! These colorful blooms made it possible to hope that spring is actually around the corner. 



After leaving the Rotunda, I made my way towards the impressionist galleries and the Degas exhibit. 




And there she was. Little Dancer Aged 14. Although there are over thirty bronze and two plaster versions of her, this is original sculpture. The only one he touched and the only sculpture he exhibited during his life. 

And she is beautiful!



After seeing the musical, where there is a scene about the dressing of the statue, it was very interesting to see what she is actually wearing: a cotton and silk tutu, linen ballet slippers, and a simple ribbon.


What I found most fascinating were all of the materials used to support the statue. Degas used many items within the structure of the statue, including broken paint brushes! 


The exhibit also includes other works by Degas, including other sculpture studies. 




Study in the Nude of Little Dancer Ages Fourteen (Nude Little Dancer), c. 2878-1881.

And the paintings! Degas was famous for capturing life within the Paris Opera Ballet, the beautiful, the ordinary, and the ugly. 

His studies the Ballet has always been some of my favorites. I have had a print of Degas' La classe de danse in my room for years. He is one of my favorite artists and I was so happy with the rest of this exhibit. It had a wonderful selection of his paintings and studies. 

The Dance Class (Ecole de Danse), c. 1873
The Dance Lesson c. 1879
Ballet Scene c. 1907
The Ballet Master (Le maitre de ballet), c.1874)

I think this was my favorite one in the exhibit. I loved the emotion and the starkness of colors. It was just amazing. 



The exhibit was beautifully done. I wished that they had connected it more to the musical, as both the National Gallery and the Kennedy Center had advertised the exhibit as a companion exhibit for the original musical. But having seen the musical, the exhibit really helped explain Degas' history with the Paris Opera Ballet, which lasted over forty years. 

And while you might have missed the exhibit (sorry again that I didn't get to it earlier in the run!), you can see Little Dancer Ages 14  in all her glory at the National Gallery, as she is a part of their regular collection. 

The National Gallery of Art is free and open to the public Monday through Saturday from 10:00 a.m. to 5:00 p.m. and Sunday from 11:00 a.m. to 6:00 p.m. 

Monday, February 2, 2015

Searching for Boas and Mead - A Mis-Adventure at the American Museum of Natural History

Two weeks ago, I had the opportunity to go to New York City for a few days. I went up the Sunday of MLK weekend and had a few hours to kill before my boyfriend got off work. So, I decided that it would be the perfect time to check out a museum I had never been to but had wanted to visit for ages: the American Museum of Natural History.


Being a rainy, holiday weekend, I knew that it would be busy. But having grown up in D.C. and having experience holiday weekends at multiple Smithsonians, I figured it wouldn't be too terrible. I was wrong. 

It was by far the one of the most hectic museums I have ever been in. I'm not sure if it was because of the sheer number of visitors, being short on staff, or something else. But I was not the only one to notice it. 

One of the main reasons I was excited for the museum was to see the ethnographic collections brought back from all over the country, and the world, by early American anthropologists. I had studied them in grad school and was excited to see what the museum had on display. 

I went over to the information desk and asked the ladies there if there were any exhibits on the work of Franz Boas or Margaret Mead or their collections. I was informed that there were not. I was confused and asked if there were any displays on anthropology in general. I was told - in a very snippy manner - that there were not.

And then I found this...



"The Hall of Northwest Coast Indians" - The oldest exhibit in the museum, with objects collected and curated by then museum curator Franz Boas. 


While I was excited to find this amazing hall with so many interesting objects from the American Indians of the Northwest Coast, I was shocked that I had been told by the people at the information desk that it did not exist. 




Having read Captured Heritage: The Scramble for Northwest Coast Artifacts in grad school, I explored the hall with great interest. From the masks and ceremonial clothing to the variety of wooden cavings, the exhibit has an amazing collection of Northwest Coast objects. 


However, throughout my exploration of the hall, I over heard quite a few odd and off-putting statements from some of the other visitors. Some people likened the carvings to those they had in their backyard (via the Home Depot), while others complained about exhibit's age. While it was not the shiniest exhibit and there were no interactive touch screens, it does represent a very important time in American anthropology and museum studies. 

I left the hall more quickly than I would have normally, because I wanted to catch the free museum tour, which I had seen advertised in multiple places around the museum. 



I got to the meeting spot around 3:00pm, insuring that I would have plenty of time before the tour started. A few other people were waiting around the sign, too. But 3:15 came and went, without any signs of a docent. I went to ask the security guards about the tour and was informed that I must have missed it, even though I had been there 15 minutes before it began. I went back to the sign, thinking the docent might simply be running late.

I began talking with the other people who were still waiting at the sign. They had been waiting even longer than I had and we all were very disappointed that the tour did not happen. No one from the museum offered any explanation. I found out that the other people waiting for the tour were also avid museum goers and that they had so far had similar experiences to mine at AMNH. 

While we debated whether or not it was because of the rain, a lack of staff, or the amount of visitors in the museum, we all agreed that something was off. 

After saying goodbye to my fellow museum enthusiasts, I set off to explore the rest of the museum.


I explored the newly refurbished dioramas, which seemed to be a favorite with many of the young museum patrons.




I couldn't believe how detailed some of the landscapes were!

Then it was time to go and find the dinosaurs. They seemed to be one of the main highlights of the museum (even my mom told me to go say hi to them for her!). 



And I have to admit, the exhibit was pretty cool. No matter how old I get, I will always love a good dinosaur display. There was one issue in this exhibit, however, that seems to come up in almost any dinosaur related display. So to deal with it, I'm just going to say one thing here:

Archeologists do NOT dig dinosaurs. Paleontologists do. 

I'm hoping eventually people will get this right, but until then, I will just have to bite my tongue each time a parent tells their 4 or 5 year old all about how archaeologists dig up dinosaurs with pick axes. 


From there, I went to look at more of the exhibits on the different American Indian cultures. 


These exhibits were a little less crowded than the dinosaurs and gems, but were still pretty busy. Again, I heard some slightly off-putting comments from a few visitors, but I tried to block those out when looking at the different dioramas. 

As I made my way to my final exhibit, the Margaret Mead Hall of Pacific Peoples, I noticed that the crowds were almost as large here as they had been by the dinosaurs. I was a bit confused about this, but then I realized that the Rapa Nui (Easter Island) moai cast was in the exhibit. It seems that the movie Night at the Museum has increased visitation to this particular object. 

(I also thought about how I had asked the women at the Information Desk specifically about Margaret Mead and told there was nothing in the museum about her work, only to find a very popular the exhibit hall named after her...)




I stayed in the entrance hall for a little while, reading the panels on Margaret Mead and her cape and walking stick, and watching a video about her life. She was such an important figure in American anthropology - and anthropology in general - that I was excited to see how she was described by the people who knew her best: her students and co-workers. 



While watching the video, I was shocked at how many times I was physically run into by other visitors. I was standing in front of the video screen, as close to it as I could without blocking it from others, and I was bumped into six different times. No one apologized; no one seemed to realize that I was actively engaging with part of the exhibit. Honestly, I'm not really sure how many people realized that the displays in that hallway were connected with the hall they were exiting. 

While I could understand it if it had been children, I was mostly run into by adults. It was disheartening how many people seemed to have so little regard for their fellow museum goer. Or the exhibits in that hallway.

After I finished watching the video, I made my way into the exhibit hall. I was greeted with so many amazing objects from the different regions of the Pacific. And a very large crowd of adults and children surrounding the Rapa Nui moai cast- or "Dumb Dumb" as most people were referring to the object. 


While I am very glad that so many people were excited about seeing this amazing object, I was horrified by some of the actions I saw. I saw many people touching the cast. Parents were encouraging their children to hug the giant object for pictures. Yes, it is a cast of the original object, but it should still be treated with respect. There were no security measures taken to prevent this that I  could see (although I couldn't get very close because of the crowd). No security guard came by to tell visitors that they should not touch the object. 

In fact, one of the main issues I had throughout the entire museum was how many objects people were touching. From the carvings in the Hall of Northwest Coast Indians, to some of the skeletons in the dinosaur exhibit, to the Rapa Nui moai, it was actually quite shocking. And it was not just children, but adults - both young and old. I don't know if this is because there were fewer security guards than I would expect to have seen on such a busy weekend or if it is because there is a larger issue in our society, where people are don't realize that they shouldn't touch certain types of objects in a museum (unless it was specifically designed to be touched, with a "Please touch" label). 

Either way, I was shocked by my experience at the American Museum of Natural History. This museum is regarded as one of the best natural history museums in the world and I had high expectations for it. Unfortunately, I was very disappointed. 

It is possible that it is all because they were short staffed on a very busy day. I would like to go back and see if I would have a different experience on a quieter day. Or if this is a more serious issue.

Sorry again about the poor quality pictures. I did not bring my D-SLR to New York and I am kicking myself for it. I promise, the next entry will have higher quality pictures. 


On a positive note: for those of you who want to explore a museum but are traveling and have luggage with you, don't forget that many museums will check bags along with coats and umbrellas. For only $2, I was able to check my overnight bag, coat, and umbrella.

Wednesday, January 21, 2015

The Irish Hunger Memorial - Battery Park City

Hello everyone! I am sorry that I have been away so long, but between work and dissertation, that sometimes happens.

I promise that I have many museum adventures to share with you, but I thought that I would start out with a short post on a memorial close to my research heart: the Irish Hunger Memorial in New York City.


Located on the Battery Park City, only a few blocks away from the 9/11 Memorial, the Irish Hunger Memorial is a truly unique memorial. The memorial was built in 2002 and was designed to raise awareness about the events surrounding the Irish Famine.



I first heard about the memorial on a travel show about New York City a few years ago. The host was exploring some of the lesser known museums and memorials around NYC, including the Hunger Memorial. I remember being extremely interested in this memorial that juxtaposed the busy urban landscape of New York with the quite and empty landscape surrounding many of Ireland's clearance houses.

So, upon my most recent trip to New York, I made sure to make time for this museum between the city's bigger players, like the Met and the American Museum of Natural History. And it was worth it!


Walking to the memorial, the grassy knoll is the first thing that indicates that you have arrived. But to get onto the pathway, you must first go around the the memorial's entrance, which is a stark modern contrast to the memorial's grassy top.




All around the base are quotes and statistics about the Famine, reminding visitors of the shear numbers associated with the Famine.




As you make your way up to the grassy top, you walk through a traditional Irish cottage from the Famine era, brought over from County Mayo and painstakingly reconstructed for this memorial.



And as you walk along the meandering path, you notice that some of the stones have the names of the Irish counties carved into them. These stone were brought over from each of the 32 counties as a reminder the Famine's impact on Ireland.



It is a beautiful memorial, although vastly different from the majority of Famine memorials around the United States and Ireland. Most memorials focus on the imagery of the people, starving and weak, leaving their homeland in hopes of finding something better. But this memorial is different. It focuses on the impact the Famine had on the country. The loss of the people from both death and emigration had a long lasting effect on Ireland. And that loss is what seems to be echoed here in Battery Park City.

To learn more about the Irish Hunger Memorial, click here to visit the website.