Whether they celebrate common events or memorialize tragedies and injustices, museum exhibits involve interpretive judgments about cause and effect, perspective, significance, and meaning. These judgments are implicit in the selection of themes, photographs, objects, documents, and artifacts that make up an exhibit. In addition to examining noted accomplishments and innovative programs, this column will explore the intellectual underpinnings of historical exhibitions—does a show’s research reflect prevailing scholarly currents? Is its presentation bold, new, or even provocative?
In this gallery, visitors followed a chronology of the American Revolution through a variety of materials including paintings, prints, and other artworks. They also explored the enduring impact of the war on the lives of civilians and the military personnel who served in it.
Through more than 100 objects, visitors learned how a design movement embraced ideals of superior craftsmanship, naturalistic ornamentation, and living with beauty in the home. In the process, Americans remade many aspects of their daily lives and created the world that we know today.
The Civil War was a people’s contest, not just of armed forces and political developments but of the full range of experiences that contributed to a nation divided over slavery, democracy, and statehood. This comprehensive exhibit, which was accompanied by a 200 page book, explored the complex issues surrounding this crucial turning point in our history.
Watercolors by Confederate veteran William Ludwell Sheppard illustrated the everyday life of a Southern soldier. The exhibit was complemented by the original uniform coat and sword that General Robert E. Lee wore when he surrendered at the Battle of Gettysburg.
Twenty-first century museums cannot continue to tell the same old stories they have always told. They need to be relevant and demonstrate that they deserve their tax-exempt status by performing a valuable public service for all the citizens of their towns. They must reach out to audiences who have not visited in a while and engage with those who have never before been to a museum. They must do this by researching new sources, reaching out to communities that may not even know they need a museum, and making their exhibits inclusive visual stories about big ideas like freedom, community, faith, and social justice. The publication of exhibition reviews provides a means for the academy and museum professionals to work together on this crucial task. By publishing these reviews, Perspectives fosters collaboration and contributes to a literature that enables historical exhibits to outlive their short-term exhibition lifespans.