A House Tour – Just Like a Building – Should be Greater than the Sum of its Parts

This blog has been re-posted from the PreservationNation blog.

Chris Madrid French’s recent blog post on Phoenix modernism on Preservation Nation reminded me of a recent weekend jaunt I took just a few miles east in Scottsdale, Arizona.

While there I did what any self respecting historian/preservationist would do and dragged my two cousins and my sister to see a Frank Lloyd Wright masterpiece, Taliesin West. I’m going to start off by admitting that I do not know much more about Frank Lloyd Wright and his architecture style than his overarching building ethic of having structures that are “in tune with nature.” I love the way they mirror the landscape, providing an almost abstract art-like vision, modernist masterpieces that are close to the earth. They remind me that the soul of a building is much more than the sums of its parts—as Taliesin West exhibited with its tilted roofline, low ceilings, and sunset colored walls.

As magnificent as the building was, I found myself contemplating another art form—the art of a house tour. Being an interpreter is a tough job. No tour is alike—as I well know from giving historic house tours when I was in college. A guide has to be on his/her toes ready to pull from the reams of knowledge they have amassed. My experience—both in giving and attending—tells me that moving a house tour from good to great also involves the following:

  • Know your audience—at the start of the tour it is fine to ask your group about where they are from—but delve deeper. Find out how much the group knows about the site and why they’ve come to visit. And then ADAPT.
  • Show—don’t tell. Obviously there is a reason that this home/structure/architectural wonder has been preserved. However, a repeated exclamation stating that it is wonderful is not instructive when the evidence is right in front of us.
  • Time. I’ve often found that one of the biggest problems with house tours is the need to fill a specific time frame. It is important to recognize when you don’t have enough material—so as to prevent repetition. It is better to produce a tight program, rather than one that rambles and is repetitive over the course of an hour.
  • Tell us a story. This is a personal preference of mine. The house tours I tend to gravitate to make the broader connections between the architect, the place, and those who lived there. It is that interconnectedness that makes a space come alive and makes those past lives tangible.
Taliesin West

Maybe the early morning 95 degree heat in late March may have had something to do with it, but the last point is why I found the tour at Taliesin West slightly unfulfilling. We had the building, we had the great story of an architect whose work dots the American landscape in many forms, but we also had this amazing living history of a school—and the students who lived (and continue to live) there. However, as we moved around the main area, each of these pieces remained disconnected from one another; each existing as a part of their own separate sphere, ultimately lacking the organic, natural flow emphasized by the teachings of Wright.

As our guide stated—entering a Frank Lloyd Wright house is like listening to music. Each element blends seamlessly with the other—low entryways opening up into a robust chorale of space—with its own volume and tone leading to a symphony of nature in something that is man-made. This is how a great house tour should be: elements building upon one another, sifting through the potential cacophony of information creating seamless (with occasional improvisation) orchestration.

See pictures from Taliesin West.

Learn more about my trip to Arizona.

Come As You Are: Maximum India on Homespun

Suspended from the ceiling
A map filled with arts
Culture
Symbols
Dancing over a wheel, a chakra
Calling for virtue from the people.

And at the crowded, energetic stage
Sounds of Rajasthan flow into the melody of the violin

Embrace the dance styling of Punjabi rhythm
Din. Dinaka. Din Din. Dinaka. Din Din.

The art, the dance, the music, the film
All merge together amidst the written word
Imagining the city, embracing the politics
Tagore debates Gandhi
Margins and Majority on the silver screen

India is more than just the sum of its arts
More than a saffron-colored sari, or an exotic smell
But for a short while there is a glimpse,
An attempt to encompass, to gather, to embrace
India at the Max.
Maximum India.

I recently spent the first part of March attending a bunch of events for Maximum India. Today I published a review at the Smithsonian Homespun blog. Unlike the literature panel I wrote about last week, this time I tried to take a broader view of the entire festival as a whole–looking at the music, art, dance and what it told us about India and identity. So stop by the Homespun blog–if you saw part of the festival, let us know what you thought.

Get in Touch With Your Soulfull Self

I know for New Years I said I would try to go to a new exhibit every month — exhibitions that are off my well beaten path.

Ah the best laid plans.

In January my plans to visit the Udvar Hazy Center in Chantilly were thwarted by weather, but I’ll figure out a way to get there for “January” sometime in February/March. For this month I attended a co-worker’s poetry/written word event at Old Town Alexandria’s Torpedo Factory. The assignment (which was partly a SPARK! event) was to look at an exhibition Mixing Bowl: Immigration & Diversity in America and produce a piece that reflected the inspiration. The pieces that were performed were evocative and full of incredible imagery and emotion invoking personal stories of familiar pasts.

One story spoke of a boy at Ellis Island learning about his family’s history–a history that was his by adoption rather than birth; another of of a woman traveling to gain a glimpse of her grandmother.  There was a piece that looked at today’s immigration stories, of becoming a permanent resident, of crawling your way up into the American Dream–and one more that looked from the outside in–from the lens of a DMV worker. All immigrant experiences, just in different times–and different places.

The inspiration came from the art that surrounded us. One piece was filled with butterflies fluttering beyond the canvas, along the walls and floors, obscuring and revealing text; while another was like a still from a movie–a man, dressed in a white shirt and black pants gazing quietly out amidst a subdued cocktail party. The largest installation included three hanging sheets upon which was projected the quiet silhouettes of figures embracing in farewell (or hello!). Then there was the view from what may have been a detention cell made entirely out of tape, and the doll–crying pearls of tears.

Art begets Art. Poetry begets Poetry.  One begets the other. Each told the story of immigration, of our Mixing Bowl from a different perspective. One through visceral visuals, the other through expressive expressions in the form of words. All stories that come from real people from yesterday, today, and tomorrow.

Mixing Bowl will run until February 27, 2011 in the Target Gallery at the Torpedo Factory in Alexandria, VA (which is one of the National Trust for Historic Preservation’s 2011 Dozen Distinctive Destinations).

Note: I will be participating in the next iteration of “SPARK!,” and will be getting in touch (as one of my co-workers friends described it) with my soulfull self.

Rome in A Day: An Exhibit Review

Here is the Rome & American exhibition review that I promised a few weeks back.

Context Matters

It was an intensely sweltering July when I traveled up to the National Constitution Center in Philadelphia, PA for the exhibition Ancient Rome & America. On the website for the exhibition (www.constitutioncenter.org/rome) there is the following statement.

Rome, like the United States, overcame a monarchy to become a republic. Long after the fall of ancient Rome, its heroes and legends have continued to influence future generations. From the battlefields of the revolution to the chambers of Congress, Rome became a part of America’s foundation. Through marble sculptures, paintings, jewelry, coins, and ceramics, Ancient Rome & America draws striking comparisons between Roman and American culture, from theories of government to slavery and civil war, to continental expansion and worldwide influence.

First of all, I would like to agree with the premise of the exhibition that the comparisons between Rome and America do certainly exist, especially during the early years of our republic. The significance and history of the classical period to our Founding Fathers is evidenced in our Constitution, and through our architecture. The problem with this exhibition isn’t proving that the connection exists, rather it is the way the information is presented that makes the argument seem almost superficial.

Organization:
The exhibit was divided up into a few different galleries. Three sections smaller in stature, followed by a longer gallery with an alcove, and then a fifth/sixth section that wound its way to a final, exhibit capping video that asked the requisite open ended question: “What does ancient Rome foretell about the fate of America?”

As I walked around I took note of the major section headings that to me, were grouped into these rough sections:

Section Headings:

Building a Republic: Legends and Founding Myths, Tale of 2 Generals (Cincinnatius and George Washington), Military Triumphs-Carthage

By the People for the People: Census, inspiration/Role of Written Law, Oration-Classically Speaking, Comparisons to Caesar


A Classical Revival:
Architecture/Style, Remnants in the Ancient World: Grand Tour/Influences. Pompeii Herculaneum, American Documentation Founding Fathers/Mothers

Classical Style, Architecture/Entertainment, Monumental Cities, Brad and Circuses, Hollywood

Expansion/Empire Establishing Empire, Trade/Treasure,Enduring Legacy

It ends up I was close enough to the actual intended organization for the exhibition: Introduction, Building a Republic, A Classical Revival, and Expansion and Empire, Epilogue, but that didn’t matter much, because the flow from room to room (which incidentally was in a very odd exhibit gallery) broke up the sections in a way that seemed illogical and made the narrative of the exhibition feel sloppy. For example, the first room held a small introductory object/case display, and then hopped immediately into a comparison of the founding myths of Rome (Romulus & Remus) with the founding myths of the United States (George Washington and the Cherry Tree). The section was then broken up into another room that held a description of the role of Cincinnatius in American and Roman history, without any clear connection between the two sections of the story. Each case was color coded to indicate what part of the story was being told—red or blue with a spattering of gray in between. However the colors weren’t used consistently or all the way through the exhibit.

Narrative/Artifact Choices
One of the first things I learned in graduate school (and various internships) was that just putting two pieces of evidence together doesn’t make them connected. This exhibition repeatedly placed two “objects” or “themes” together and tried to point the finger to say “hey! Rome did influence America!” The first one was the two founding myths. While it is true that both nations/empires has myths and stories that surround the founding, they aren’t the only ones. The display tries to make it seem that Rome & America are the only two with grand myths that define/represent the countries ideals.

Additionally each major section began with two quotations….here is one set.

Virtues are held in the highest estimation in the very times which bring them forth. Tacitus
Great necessities call out great virtues. Abigail Adams

Sure, both quotations talk about virtue, a concept rooted in the British foundation of the American nation state, and Rome certainly had its own ideas about honor, virtue and war—but it doesn’t mean that Abigail was talking about the same thing as Tacitus. All through the exhibition these quotations have been isolated and presented without context or even contextual clues. We are to take it on face value that a true connection exists between the two ideas, born hundreds upon hundreds of years apart.

Lastly I’d like to make a note about objects. While it was really great to see the artifacts from Herculaneum and Pompeii there were points in the exhibition where the objects were really just out of place. While I recognize the need to acknowledge modern connects with Hollywood that section seemed like an afterthought (that existed in the middle of the exhibit) rather than incorporated into script. Also, this section was only music, and a variety of movie posters without much explanation or analysis of what those movies may say about 20th century America. Then there are the Super Bowl tickets.

At one point in the second to last section of the exhibit the designers presented two Super Bowl tickets (actually to the first Super Bowl I believe). The description starts to talk about how our sports arenas are reminiscent of gladiator arenas (though less brutal), but uses the fact that the Super Bowl still uses roman numerals as a “viola!” connection between modern society and Ancient Rome. Not a strong argument, or even a credible one. My fear is that this entire section of the exhibition was added as a way to create relevance/engage younger visitors. I doubt, that they were very successful.

Clearly I had much to say about the exhibit, but instead of going on about how the Expansion/Empire section may have been stronger if they had extended the idea of the American Empire out beyond the ideas of manifest destiny and westward expansion, I’m going to let Sarah Fell and Tony Torres let you know what they think.

Sarah Fell

As a classics nerd, I was excited to see the Ancient Rome in America exhibit at the Constitution Center. I think the exhibit started out strong, showing the influence Rome had on the Founding Fathers, the symbols of power America chose to use (eagles!), and the federal-style architecture we used for our seats of power. One of the more interesting points, to me, was the similarity between George Washington and Cincinnatus. I would have liked to see more about how America’s mythologizing about its own origins and heros compares to Rome’s. And I will not forget seeing a slave collar from America side-by-side with a slave collar from Rome. That was chilling.

Soon the exhibit started to lose me, though. As Priya mentions, one of the more perplexing choices was the Super Bowl tickets. Surely most cultures have some form of large sporting event, so apart from the Roman numerals, what makes the Super Bowl especially reminiscent of Roman gladiator games? There was also a wall of movie posters of different American films about Rome. But I left that, too, with more questions. Why the glut of movies about Rome at this point in America’s history? How do the portrayals of Rome in these movies compare or differ from reality? What does each film’s portrayal of Rome reveal about America? Why do we latch on to certain themes–decadence and excess, gladiators, slaves? These were two of the more provocative points in the exhibit so I wished the connections had been unpacked a lot more.

In the end the exhibit showed us a lot of things but didn’t really say anything. The video at the end consisted of a lot of Roman and American historians saying, essentially, that Rome and America are similar in a lot of ways, and in a lot of ways they are different. Maybe America will fall, like Rome did, or maybe it won’t. Had the exhibit been pared down to have a specific focus–say, America’s mythologizing about its founding, or American visions of Rome in film and literature–it would have been much more effective.

Tony Torres
I’ve always had a love affair with ancient Rome and with the Founding era of American history due to my once passionate libertarian beliefs.  My passion for both led me to look forward to seeing the Ancient Rome & America exhibit in Philadelphia.  Unfortunately, I too came away from the exhibit mostly disappointed.  I thought that the exhibit displayed a lot of great artifacts, but presented very tenuous connections between most of them. Instead of delving in deeply into strong similarities between Rome and America, it chose to focus on superficial similarities. Some areas of the exhibit were stronger than others – the comparison of Washington to Cincinnatus and the comparisons of slavery in Rome and the American South, for example.  Unfortunately, even those comparisons failed to show how they were similar or why Americans emulated Rome.  It also ignored key differences.  It would have been useful for example to discuss why George Washington felt Cincinnatus was a great model to follow as statesman, rather than say Julius Caesar.  When comparing slavery, the exhibit had some great artifacts such as the slave collars that Sarah mentioned.  What I would have liked to see, however, was discussion of the differences.  There was little or no discussion of the fact that slavery had a racial element in the United States, but was based on conquest in Rome.  There was no mention that the son of a freed slave became emperor of Rom Cincinnatus e, while the son of an American slave had zero chance of being president.  Speaking of presidents, the exhibit failed to examine in critical ways the fears early Americans had about executive power and the fear that a president could become an American Caesar.  This failure dovetails nicely with its failure to “go there” on the issue of imperialism.

The exhibit covered Roman conquest of Europe and the Mediterranean and compared it to the spread of American power across North America.  While I think the comparison has some validity, it missed the point.  America’s founding generation admired Roman republican virtues and institutions and the long stability they provided that civilization.  They actively sought to emulate those admirable aspects of Roman society.  What they feared though, was the darker side of Rome.  America was to be a “New Rome” in republican form that set up institutions to prevent the accumulation of two much power in the hands of a king or emperor.  America was also to be a country that sought peaceful relations and trade with all, but not conflict.  This is most famously represented by John Quincy Adams’ famous statement that “America does not go abroad in search of monsters to destroy. She is the well-wisher to freedom and independence of all. She is the champion and vindicator only of her own.” Of course, America would fail to live up to those ideals in many ways over the next century in a half.  Presidents, beginning with Lincoln, and then continuing with Teddy Roosevelt, Woodrow Wilson, FDR and every president since accumulated great powers far beyond what the founders intended.  America would seek out its Manifest Destiny and conquer a continent.  Where the exhibit fell short, is that it covered imperialism and Manifest Destiny and tried to link those to Rome.  While the comparison is valid, I think modern American imperialism is a much better point of comparison.  Roman imperialism eventually overextended Rome and caused it to rot from within.  Similarly American adventurism abroad and the rise of our national security state has led to similar results at home.  We’ve just lived through a decade in which Americans watched their standard of living decline, their personal and government debt skyrocket, while we’ve engaged in near permanent wars and continued to garrison the planet…even in places that have questionable value to the country as a whole and to the current wars we’re fighting.

My post is rambling a bit, so I’ll wrap up just by pointing out that while the comparison between Rome and America is tempting to make the two societies are still very different.  Rome was never anywhere near as democratic as the modern United States.  While the United States is one of the least egalitarian modern developed societies in the world today, it is far more equal than Rome.  Education levels and literacy levels are much higher.  Estimates of literacy rates in ancient Rome suggest that about ten percent of the population could read and write. While that was a great achievement compared to other pre-modern societies (including the Greeks who were far less literate), it pales in comparison to the nearly 100% literacy rates in the United States.  America has always been highly literate, from colonial times on down to the present.

If I had designed the exhibit, I would have touched on all these themes in some detail.  I would not have included movie posters without context.  I would not have included super bowl tickets.  I think the most important lesson Rome offers the United States is the following: history does repeat itself in some ways.  The most important of which is a lesson that we fail to heed at our own peril.  Every great power has fallen eventually. Nearly all of them have fallen for similar reasons.  Many of them probably realized they were in decline and knew what needed to change.  None of them made the necessary changes.

Telling Stories and Written in Bone: Exhibit Review from Three Angles

What do an art exhibition, a viewing of bones, and a link between Rome and America have in common? All are representations of three different types of exhibition methodology—one that is traditional, another interdisciplinary, and the third disappointing in scope and intention. A longer review on the National Constitution Center’s exhibition on Rome will follow in a week, but today here are some of my thoughts on Telling Stories: Norman Rockwell from the Collections of George Lucas and Steven Spielberg (through January 2, 2011) and Written in Bone:Forensic Files of the 17th Century Chesapeake (through January 6, 2013).

When I go to an exhibition I look at it from three different ways. The first is the “narrative” what is the story that is being told, why are we here, why should we care? The second is the artifacts themselves. How well do these objects illustrate/emphasize the overarching narrative? The third angle is a little bit more emotional. It’s the gut check. How did I feel as a visitor walking away from the exhibition—did I learn something? Was I confused?

In the Norman Rockwell exhibit, the ‘story’ is easy to identify in that his paintings of ordinary life  reflect some simple storytelling techniques–evoking emotion and nostalgia through vivid colors and simple structure. The canvases from Lucas and Spielberg’s collection also have a distinct connection to an idea of Hollywood glamor: classic, constructed, simple; or as the exhibits website states “Rockwell’s paintings and the films of Lucas and Spielberg evoke love of country, small town values, children growing up, unlikely heroes, acts of imagination and life’s ironies.”

I was drawn to a series of four paintings, all of which told a story within a story, a complex idea to do in a single snapshot or frame. In And Daniel Boone Comes to Life on the Underwood Portable, Boy Reading Adventure Story, Shadow Artist, The Toy Maker (see them here) I found myself identifying with the second level of the image, into the writer’s imagination, the boy’s book, the life of the shadow bunny, and the world of toys. All are pictures within pictures, visions within visions. Since each of these paintings belonged to George Lucas or Stephen Spielberg they are uniquely representative of how Rockwell influenced their films. At one point in an interview (link below) Lucas states that “When we were in film school, we would say, “We’re not making movies about the way things are, we’re making movies about the way things should be.” And that’s the power you have as an artist, to be able to put your spin on reality and make it the way you think it should be. Rockwell created his art to relate to people, but at the same time he showed generations to come what it was like in those year”, so in effect these paintings tell more than just the story that Rockwell wanted to tell, they also tell the story of George Lucas the filmmaker and Stephen Spielberg the filmmaker. They emphasize that what we see on the silver and small screens are often invoking/influenced by images and windows into times past present and future.

Gut Check? I wish there had been more textual narration besides the live film and the introductory panels/quotations, but otherwise loved it.

Written in Bone is a different type of exhibition. First of all its in the Smithsonian Institutions Natural History Museum, which already indicates that it will be of scientific or natural in nature, but the second title of the exhibition Forensic Files of 17th Century Chesapeake made me walk through the doors. I spent a lot of time in college learning about 17th, 18th, and 19th century Virginia through coursework at William and Mary. So I wanted to see how they put together an exhibition that told the story of that period through the human remains.

The exhibition began with a lesson in basic forensic pathology. How can you tell the age of remains from the size of the skull, the length of a leg bone etc. Once you left the first room you were introduced to the idea of making connections between the forensic evidence and the documentary materials that historians generally use. This led to a third section where the remains of a man from Jamestown and a couple from St. Mary’s County were displayed. Step by step, piece by piece they walked us through identification and context.

This was an excellent exhibition. Not only because it emphasized the importance of using interdisciplinary evidence to put the puzzle together, but also because it was structured in a clear and organized fashion—leading the audience to the historical and forensic conclusions. In prepping this post I also took the time to look at the online portion of the website, and stumbled across “Secrets in the Cellar” a web comic that virtually relays all of this information to those who are unable to visit the exhibition personally. It maybe a slight oversimplification of the work that actually goes into identifying old human remains, but it gets the job done.

Gut Check? Highly recommended. Engaging, mysterious, and a great example of how history can be told through many different lenses for a fuller story.

Norman Rockwell Exhibition Links:

Official Site for Telling Stories
George Lucas on Norman Rockwell and the Movies
Steven Spielberg on Norman Rockwell and the Movies
CBS Review of Exhibition

Written in Bone Exhibition Links:
Written in Bone Official Site
The Secret in the Cellar (webcomic)