Inescapable: The details make the story more real

Posted on June 22nd, 2018 by

This month’s edition of JMM Insights is brought to you by JMM Deputy Director Tracie Guy-Decker. Read more posts from Tracie by clicking HERE.

Tonight, our latest original exhibit Inescapable: The Life and Legacy of Harry Houdini opens at a members-only preview (by the way, if you’re reading this and you don’t yet have a ticket, I am sorry to tell you that we are completely sold out. Please come on Sunday to see the exhibit and take in the Magic of Jonestown outdoor festival).

Since our JMM Insights newsletter is supposed to give you, the JMM insider, an inside look, I thought I’d take a moment to talk about an underappreciated component of exhibits: props.

I have written before about the power of objects in museums. One of our interns recently tackled the question Do Museums Need Objects, and another intern wrote yesterday about objects in this exhibit. But what I want to talk about are the physical items in exhibits that are not, in fact, artifacts.

I admit that I am a little biased in focusing on this for Inescapable, since one of the more charismatic of the props in the show, the Edison cylindrical record player, belongs to my husband, David. But that’s only part of the reason I wanted to talk about props with you. Before I worked in a museum, I admit that I never once thought about props in museum exhibits. Maybe you’re in the same boat. But in my opinion, they can be the details that complete the story.

My husband’s Edison player gives a visual context to the recording of Houdini’s voice. It helps conjure the experience for the visitor. Curators and exhibit designers use props to help create an environment in which you, the visitor, can encounter the artifacts.

In Voices of Lombard Street, we use a lot of props to create a fully immersive environment. In most instances, museum props are used to make your museum experience a more immersive one, and immersion helps make your visit there memorable (I discussed the importance of memorability when I wrote about how we measure the museum).

In addition to David’s Edison player, there are several props in the Behind the Curtain section of Inescapbale.

There are props integrated into interactive elements, and there are reproductions of photos and posters throughout the exhibit. But don’t worry, Dear Reader, we are not trying to fool you! Our labels will tell you everything you need to know about an object or image, including the nature of what you’re looking at (original or reproduction), where the artifact, image or prop came from, and who owns the intellectual property (if anyone). (Note that if there is no label on an object in a JMM exhibit, you can be pretty sure it’s a prop.)

And so, JMM Insider, you now have a choice as you encounter exhibits, whether here or at other museums. You can use your new insights to take a peek behind the scenes, noting where we Museum Professionals have introduced props to enhance your experience, or you can ignore the details on the labels and allow yourself to be fully immersed. Either way, at least when it comes to this exhibit, I trust you’ll enjoy the effect of all our effort.

 

 

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Confronting “Difficult Knowledge” with Eastern State Penitentiary

Posted on May 31st, 2018 by

A blog post by Deputy Director Tracie Guy-Decker. Read more posts from Tracie by clicking HERE.

In early May, the management team of the Jewish Museum of Maryland took a trip to Philadelphia.

We spent time at the Eastern State Penitentiary, where I was surprised to find a restored synagogue. As interesting as that space was, it was not the most memorable I found at Eastern State Pen. For the most impact, I have to turn to what ESP staff calls “the big graph” and the small exhibit space they’ve carved out for Prisons Today.

Before I get to my experience of the graph and Prisons Today, let me back up to February of this year, when a number of the JMM managers attended the Council of American Jewish Museums conference in Washington, DC. (Read about our experiences here and here.) The conference theme was “Responsibility and Empowerment: A Civic Role for Jewish Museums,” and sessions explored the idea of museums as sites of conscience and as taking a stand. Rather than the “Dragnet” vision of museums of my youth (“just the facts, ma’am”), presenters at this CAJM conference invited Museums to take on the role of inspiring action—inspiring ‘upstanders’ to use the language of one of the featured institutions, the Take A Stand Center at the Illinois Holocaust Museum and Education Center. Other featured sites included President Lincoln’s Cottage with their commitment to combatting contemporary slavery as a part of Lincoln’s legacy and…wait for it…Eastern State Penitentiary (ESP).

According to the representatives of ESP I heard at CAJM, the sprawling historic prison has served as a site for so-called “ruin porn” and haunted house experiences for most of its time as a tourist destination.

However, in recent years, staff and board have decided that they have a responsibility to use their platform to share a truth that is not always comfortable. They first developed the graph (see my picture below) a few years ago. It confronts the visitor with the reality of the current state of mass incarceration in America.

The “front” of the graph maps the surge in prison population over the past three decades. The side compares US prison population to other nations’ (spoiler: we outpace every single country in the world with the number of citizens we hold as prisoners).

The back of the graph shows the racial disparities among prison populations.

The graph is difficult to be with. The data was not surprising to me; I’ve read Michelle Alexander’s groundbreaking work The New Jim Crow, and I have spent a lot of time learning and thinking about the systemic nature of the racial disparities in our criminal justice system. The graph was still difficult for me to be with.

Our tour guide at ESP that day, a member of ESP’s education staff named Sam, told us that their docents are all trained in facilitating difficult conversations.

She said the staff talks regularly about helping people to work through the “learning crisis” that is triggered by confronting “difficult knowledge.” In fact, ESP provides continuing education sessions to the whole staff about the process.

Our confrontation with “difficult knowledge” had only just started with the big graph. From the outdoor graph, we stepped into a well-appointed contemporary exhibition gallery for Prisons Today: Questions in the Age of Mass Incarceration, and were immediately met by this visually striking depiction of the reality of contemporary mass incarceration.

The visuals were backed up by strong language on the panels: “Mass Incarceration Isn’t Working.”

At every turn, this exhibit uses facts and striking visuals to drive home that idea. Interactives in the space invite people to think about their own experiences with lawbreaking, with ethical choices, and with the timeline of a single individual’s life.

One interactive features hand-written statements of people confessing to criminal behavior. Visitors are asked to guess which ones were written by people in prison and which by other museum visitors. (The answers are surprising.)

At another interactive, visitors are invited to “send a postcard to your future self.” You write three (email) notes, and the Museum ensures they are delivered in 2 months, 1 year and 3 years. They ask visitors to think about how the criminal justice system may have changed by the time the postcards arrive.

I found myself both saddened and energized by the Prisons Today exhibit. Saddened because of the “difficult knowledge” that our justice system is decidedly unjust, and energized by the forthrightness and unblinking way in which the museum had engaged the question. I did not find the exhibit preachy or self-righteous, but informative and thoughtful. Best of all, it used the strengths of a museum-learning experience—the IRL-ness of it all—to make clear both the societal reality of mass incarceration and the personal realities of individuals who are affected by mass incarceration.

I highly recommend a visit. The staff at ESP have taken on the task of helping their visitors through the learning crises of difficult knowledge, and they have risen to the challenge.

Their space is challenging—in the best possible way—without feeling judgmental. Even if a visit isn’t possible for you, you can take a virtual tour of the exhibit through the magic of the internet. This virtual tour is made available on the ESP website.

Posted in jewish museum of maryland




A Surprising Find at Eastern State Penitentiary

Posted on May 2nd, 2018 by

A blog post by Deputy Director Tracie Guy-Decker. Read more posts from Tracie by clicking HERE.

On Monday, April 23, the JMM management team (Marvin, Tracey, Joanna, Ilene and me) piled into Ilene’s car and drove to Philadelphia.

We made the trip to visit our colleagues at the National Museum of American Jewish History and at the Eastern State Penitentiary. Both institutions provided engaging and meaningful experiences, and both provided surprises. I will leave some stories for other posts (and maybe other writers), and focus here on what I found the most surprising about Eastern State Penitentiary: its synagogue.

The historic prison has a beautifully restored synagogue in its midst. I was surprised when our tour guide first mentioned its existence, and my surprise was only compounded when we stepped into the space.

The small room is paneled in a dark wood not unlike our own Rosen-Salganik Board Room, with a simple but decorative ark in one corner and a golden star of David medallion on the ceiling.

The original synagogue door shows the ghosts of two stars of David that used to adorn it.

The space had been built in the early 20th century. “Were there a lot of Jewish prisoners here?” I wondered aloud. Our tour guide informed me that when the synagogue was completed in the 1920s, about 80 of the 1400 prisoners there were Jewish. Rather than a pressing demand for Jewish religious expression among the prisoners, the Eastern State synagogue was built by the broader Philadelphia Jewish community. Likewise, the gleaming, restored space was made possible by the contemporary community.

Once we had had a chance to take in the space, our guide asked for our help flipping down a long section of paneling. As the section flipped down on a long piano hinge, exhibit panels were revealed, presenting the history of the space and of Jewish life at Eastern State.

We had fun comparing historical photos to the contemporary space in which we stood, and were all intrigued to read that the first Jewish clergy to visit Eastern State did so in 1845, the same year our own Lloyd Street Synagogue was born.

Also on display in the synagogue space was a small crowd-sourced display, Share Your Mitzvah.

The Eastern State staff created cards that allowed visitors to share mitzvahs done either by them or for them. They’d also created cards for children to draw pictures to share their stories of good-deed-doing or -receiving. I was impressed with both the sentiment of the display and the low-tech efficiency of it.

In fact, don’t be surprised if one day in the not-too-distant future JMM asks for similar crowd-sourced reports of good-deed-doings.

Posted in jewish museum of maryland




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