Enquiremanchester’s Weblog

The Manchester Museum is the lead museum in the North West Manchester cluster in a national project about art and learning for engage called ‘enquire’

An Art Historian in the Museum December 3, 2008

Filed under: Alchemy Enquire — enquiremanchester @ 9:10 am
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Jen Ashton has written this piece about her experiences of working with us on our educational programmes.  Enjoy!

I began working with the Manchester Museum secondary education team in 2007. The process of working with the team has been enlightening; working in the museum space has been inspirational. Not only has working in the Museum influenced my research as an Art Historian, but has challenged my own preconceptions of what a museum and its collections can, and should, be used for.

My own memories of childhood museum visits are not, admittedly, altogether positive.

On coach – hurried in building – stare at objects – lunch – gift shop – coach – school – discussion of plastic toy/ bag of gem stones/ postcard purchased in gift shop – home.

Why were we hurried past exhibit after exhibit, no lingering, no delayed, slow walk up and down, no pondering over shapes, colour, forms, textures, histories? And why was it that the museum was left in the museum? There seemed to be a disconnection between the two spaces – the classroom, filled high with paper and books was distinctly separate from the museum, full of scrumptious objects, jewels, insects, stuffed animals and mummified bodies. Never the twain shall meet – only on that school trip. The museum visit was, for me, almost a token gesture of ‘other cultural activity’, a tick box filled. Did teachers (do they now?) understand the vastness of the rich material held by the museum, and how to utilised that material to stir imaginations and challenge curious minds? And on the flip side: did museum staff (do they now?) understand the needs of these little people; how to present their collections, verbally and visually; to engage and entertain; to stimulate interest, so they long to ponder, linger……..

As an art historian I like to look. As a child, I am not sure if ‘just looking’ was enough – I wanted discussion, explanation, activity, a chance to explore the space, a sense that the museum belonged to me also, not just those ‘in the know’ – those knowledgeable adults, with their big posh words, and unpronounceable naming games. As a child I remember the museum being closed off to me. A space I didn’t feel comfortable in. I never imagined I would eventual come to work in such a space.

As an ‘outsider’ to the museum collections, I am still not one of those ‘knowledgeable adults’. I have only just learnt to spell palaeontology. But I am in. I have been turned. Art History is concerned with all things visual, whether it be paintings, sculpture, architecture, textiles, furniture, fashion, jewellery, photography, illustration, roads signs, advertising, maps – the list is endless …… we live in a visual context. The museum is a visual space, from the exhibits themselves, to the building which contains them, to the landscape (urban or rural) in which it sits. As an Art Historian I have nothing to add of specimen value, I have only my images, my ways of seeing. When I look at the urchins, the jelly fish, the birds, pressed clematis and ferns, (I have currently been working with the Natural Sciences collections) I am viewing them as art objects. Rightly or wrongly, I initially ignore their scientific context, and immediately place them in an art context (remember the shapes, colour, forms, textures?) As a historian of art, I am thus intrigued by the object’s story into the museum, and how new histories can be created through new interactions and interpretations.

I view my role in the museum as thus: to discuss objects in their visual context; to engage students and visitors in the artistry of the collections – whether natural or man-made – to enable students to make connections between the school space and museum space; to develop connections between the museum and all areas of the curriculum. I have always championed interdisciplinary practices; the museum enables this blurring of boundaries between the arts and sciences – a good thing for all concerned, I feel.

Lastly, I think as an Art Historian a can also introduce new names and visuals to the curators themselves; to engage them in new ways of seeing. It is a learning curve for us all.

 

Co-delivery and planning October 23, 2008

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It’s been a busy couple of weeks with the launch of our new herbarium sessions.  These sessions use drawing to document and present the students’ own explorations of the collections right in the heart of where they are stored and organised.

The idea behind it was to be able to offer schools and colleges the chance to come into the museum for a whole day of cross curricular learning, half a day making art in the herbarium and half a day doing hands-on science in the Life Lab.  It was about the breadth of opportunities that the museum has to offer while still looking at where different disciplines overlap.  So the herbarium session was framed by the idea of collecting and classification by reviewing the history of classification right up to how we can classify things by their DNA, and the lab session allowed students to learn about the applications of DNA and carry out their own simplified DNA extraction technique.

I met Botany Curator, Leander Wolstenholme, and Botany Curatorial Assistants, Suzanne Grieve and Lindsey Loughtman, to think about our roles in the session and about how we would use the herbarium space.  I went up to the herbarium twice before the session and spoke first with Leander, and then with Suzanne and Lindsey.  Leander has a scientific background and we discussed how he might best introduce the idea of classification and DNA as part of that.  Leander couldn’t make the second meeting which was about choosing which objects we were going to use to highlight the various areas of the collection.  However, talking with Suzanne and Lindsey gave the session a new dimension because they pointed out their backgrounds as being in history and environmental science respectively, rather than botany and, as such, approached the collections in a different way.  Whereas Leander maintains the scientific classification of the collections, sometimes by dividing up collections made by one collector into their various plant groups, Suzanne noted that she enjoys the stories that one collector’s work might be able to tell, and that there is a project going on at the moment to bring one collector’s work back together.

As part of the session, inspired by what someone said at the recent Museums Association conference, we decided to introduce some of the objects by asking Leander, Suzanne and Lindsey to talk about why they had chosen them and what they thought was special about them.  We thought this would be a good way not only to give the students a feel for the stories behind some of the collection, but also to start thinking about how the collections can be interpreted in different ways by different people, scientists, historians, and artists – to name just a few.

The sessions worked well with Art Historian, Jen Ashton, and I leading students to investigate artists who had previously made work by reseaching the museum’s collections and to make their own work, and with Leander, Lyndsey and Suzanne giving an introduction to what has and does happen in the herbarium, and supporting the students to explore the collections for themselves.  More on that later…