In the museum world, objects are generally described with reference to their designers, or purchasers, or donors…But the whole history of an objects intersects with many other people, who employ many other skills and attach many other meanings.1
The above quotation from Richard Rabinowitz’s article highlights the traditional way that museums tend to display and think about artifacts. Artifacts are often included in exhibitions with labels about where they were created, who they belonged to, and who donated them. This isn’t necessarily a bad thing. Provenance allows for the context of an object to come to the forefront and helps tell a specific part of history. However, Rabinowitz’s statement also rightly points out that artifacts don’t exist in a vacuum.
Objects are frequently handle by people other than their owners. For example, the average car comes into contact with an uncountable number of people throughout its existence — the assembly line workers, transporters, the staff at the dealership, mechanics, cleaners, insurance appraisers, junk yard staff, etc.
In Rabinowitz’s case the inspiration to look beyond the original owners of an object was generated by a lack of artifacts representing the experience of salves in New York. The possessions of people at the margins have tended to be less likely to end up in museum collections. The Slavery in New York exhibition included numerous heirloom objects from upper class families accompanied by the text “everything is touched by slavery.” The point being that household items were polished, cleaned, and maintained by slaves. Using well known eighteenth century items and re-framing them with contextual research about slavery allows the items to be part of the exhibit in a meaningful way.
In my mind, the whole idea is brilliant. It allows the hands of those who touched the artifact but aren’t normally associated with it to be exposed. The example also highlights the importance of curatorial planning, research, and interpretation. Without interpretation artifacts are just old objects. Interpretation is needed for contextualization, the creation of narratives, and to engage visitors.
1 Richard Rabinowitz, “Eavesdropping at the Well: Interpretive Media in the Slavery in New York Exhibition,” The Public Historian, Vol. 35, No. 3.