CAESAR, WHAT'S GOOD?: THE COMPLICATED LEGACY OF CLASSICAL ART

Breaking the Glass Case | Megan C. Mahon

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In almost every so-called universal museum in the world, the department of classical art takes pride of place. The most well-known museums – like the British Museum, the Louvre, and the Met – are famous for their vast collections of Greek and Roman art, the pinnacle of the classical period. But what does the term “classical” really mean, especially when museums use it to describe a certain form of art? How is this term implicated in creating a hierarchy of artistic achievement?

Figures from the East Pediment of the Parthenon at the British Museum. Image courtesy of author.

The beginning of the answer to that question will be very familiar to Museum Studies students. In a process parallel to the inception of modern museums, the term “classical” was first applied to art during the Enlightenment, when white European scholars were beginning to run into myriad forms of artistic expression in the places they colonized. As a way to enforce the notion of white cultural superiority, these European scholars established their own standard for what the pinnacle of creative achievement should be. Ancient Greek and Roman art – statuary, paintings, mosaics – was positioned as the highest artistic standard, with every other work of art judged in comparison. Johann Joachim Winckelmann, an 18th century antiquarian often named “the father of art history,” even declared that Greek sculpture was “the summit of human achievement, past or present.” Winckelmann had obviously never gazed upon the temples of Angkor Wat, or even eaten a taco. But, more seriously, it’s worth noting that this is the same man who, when speaking of once-painted Greco-Roman statues which faded to white over time, also said “the whiter the body is, the more beautiful it is." Racism has been a part of the classical discipline since its inception.

So, how is this a problem for museums today? Well, in many institutions – the British Museum being a notable example – the “classical world” is set apart from the art and artifacts of other regions and times. Even the title “classic” suggests that this art is separate, other, original, something to aspire to rather than be judged in its own right. It’s also true that few other works of art, even those from the same time period, are deemed classical: only works from Greece and Rome are granted this title. Many museums also place Mediterranean art in the best, most expensive galleries, while many other works of art, particularly those that have a purpose beyond aesthetic value or those which do not come from Europe, are judged as “artifacts” or “ethnographic items” and relegated to less desirable locations. Feel free to argue with me if you’d like, but the truth is that museums have a lot of work to do in unpacking the connections they’ve reinforced between classical art and white European superiority.

Because the fact is that classics and white supremacy are inextricably linked. Mary Beard, a well-known archaeologist and popular non-fiction author, has commented in the past that the classical world is a “vocabulary that can be used for good or ill by would-be emancipators and oppressors alike.” Sure, but isn’t it also true that the classical tradition has been used and re-used by those in power even up to modern day? Dictators and white supremacists across time have used the classical world as an inspiration or a rallying cry for their so-called higher purpose. The discipline itself was started by people with an agenda; museums aren’t neutral, and art isn’t either.

The art world, in many ways, defines itself by what we call the classical tradition, but how can museums move beyond this? How can we remove all defining markers, and display art with no standard, no status quo, and no measure of superiority?

The very first thing to do is to do away with the word “classical” entirely, as it implies a standard by which all other art is judged. Using the terms “ancient Roman” or “ancient Mediterranean” instead will change nothing about the art except for the way that we look at it, and it’s a relatively easy thing to do. The second – and far more difficult – task is to incorporate the voices of Indigenous people into museums, particularly in Canada. When Indigenous art is interpreted by Indigenous people (such as at the Haida Gwaii Museum at Kay Llnagaay), it can be understood outside of the settler-colonial context, and outside settler-colonial, Enlightenment-based hierarchies. Allowing Indigenous people to tell their stories, in their own voices, will create more opportunities for reconciliation in Canadian museums.

The final, and most difficult thing that museums everywhere can do is acknowledge where the importance is placed in their collections. The viewing of ancient Mediterranean art is often seen as an escape from the modern world, a journey back to a time of pure, neutral beauty, removed from everyday politics. This neutral, universalist notion, as we all know, is a shield for white supremacy to hide behind. An obvious way to combat this is to include more Indigenous voices and stories in cultural institutions, so that all art can be understood in its own context. When museums can learn to place all art on the same pedestal, we’ll have true artistic and epistemic equality. Until then? Someone get Johann Winckelmann a taco.



Further Reading

Rachel Poser (2021). “He Wants to Save Classics from Whiteness. Can the Field Survive?” The New York Times. https://www.nytimes.com/2021/02/02/magazine/classics-greece-rome-whiteness.html

Denise Eileen McCoskey (2018). “Beware of Greeks Bearing Gifts: How Neo-Nazis and Ancient Greeks Met in Charlottesville.” Origins 11, no. 11. https://origins.osu.edu/article/beware-greeks-bearing-gifts-how-neo-nazis-and-ancient-greeks-met-charlottesville.

Krishnan Ram-Prasad (2019). “Reclaiming the Ancient World.” Eidolon. https://eidolon.pub/reclaiming-the-ancient-world-c481fc19c0e3.

WE ARE GLAM-OROUS: MMST STUDENTS TAKE ON THE FIELD

Special Edition |  Melissa Mertsis and Jordan Vetter

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We asked Master of Museum Studies (MMSt) and Combined Degree Program (CDP) students about their experiences across all years of the program and received many empowering responses. Through coursework, theses, internships, student organizations, and work experiences, students have grown personally and professionally, and have contributed to the field. The value that MMSt students can bring to the GLAM (Galleries, Libraries, Archives & Museums) sector is clear, and we want to celebrate all that we have accomplished and are capable of!

The MMSt program is small but mighty—relationship building and networking among peers is a great advantage of being in a cohort of only about 100 people. This could be peer-to-peer “inspiration, support, [and] advice” on a difficult project, or, as Georgia McKee states, it could be cultivating friendships that turn into career connections down the road. Dominica Tang and Denise Tenio also describe the “sense of belonging” that came out of meeting other “[like-minded] people” in the program, fostering a sense of community and support. As Jefimija says, “museum people are good people!”

Relationship-building also occurs between MMSt students and the communities they work with. Cassidy Latimer, Amanda Marino, and one other student, who all work at small museums, describe their roles and institutions as directly contributing to the members of these communities—whether it’s helping visitors understand local histories, or coming together to support one another during the pandemic, these roles directly impact their communities!

Museum Studies students at the MMSt 50th Anniversary Conference. Photo courtesy of Melissa Mertsis.

Imposter Syndrome is something that so many of us go through in grad school. Fortunately for MMSt students, this program and the experiences that come with it have been a big confidence booster! In completing a fellowship with the Aga Khan Museum, Rebecca has “learned to trust [herself] and [her] ideas”, while another student working on a capstone project recognized just how capable and resourceful they are. Surprisingly, the pandemic has also produced opportunities for students to become more aware of their capabilities. Lauren Ulbricht, intern at the Billy Bishop Museum, found that independent work due to COVID-19 caused her to be more “confident in [her] knowledge and abilities.” No matter the experience, as Brooke Downey so aptly put it, this confidence allows us to “show prospective employers what we're capable of!”

With so many possible areas to study within the museum field—everything from collections to exhibitions and programming—it’s easy to get overwhelmed with what direction to pursue. Fortunately, many of our peers have found that courses, guest lectures, and other opportunities in the program have allowed them to discover new areas of interest or guide their career path. With open-ended assignments, students say they are able to explore topics they are passionate about, expanding their knowledge base and resulting in strong portfolio pieces for future endeavours.

Students on a tour led by the National Gallery of Canada's Educator of Indigenous Programs and Outreach Jaime Morse. Photo courtesy of Melissa Mertsis. 

In addition to course material, experiences like internships and Young Canada Works positions have helped students find their passions. Rachel Deiterding explains that the range of activities she participated in during her internship with the Doris McCarthy Gallery helped to “solidify the kind of museum work that [she is] most interested in.” A CDP student’s experience as a Collections Assistant with the Art Museum at the University of Toronto “made [them] realize that [they] really want to work in the museum field,” and a work position even led Jefimija to find her thesis specialization! This validation that we are on the right track, and can find meaningful work in something we’re passionate about, is reassuring for our futures as museum professionals.

Not only have we been able to grow our networks, confidence, and passions in this program, but MMSt students have also discovered how their experiences make them well-suited to contribute to the field. With many projects in our program being grounded in what we would do in practice, we are more prepared to apply these concepts and learnings to our work. Both Julia Barclay and Tiffany mention how their work and internship experiences have allowed them to contextualize their coursework and apply theory into practice. Lauren McAusland similarly explains how knowledge from her classes helped her to create educational videos and lead an evaluation of an online learning platform with the Royal Botanical Gardens.

MMSt students installing their exhibition wall for MSL2370. Photo courtesy of Jordan Vetter.

On top of our growing practical knowledge base, students have been able to build and apply a variety of new skills—from grant applications, formative evaluations, and storytelling, to Photoshop, collections auditing, and event planning. These provide a solid foundation of transferable skills that we can easily translate into new roles and contexts.

In this program, we have been exposed to different perspectives and critical museum discourse, which students have consciously carried into their work. Christina explains the importance of telling stories accurately and critically, and how she has encouraged others “to think critically about ‘artistic genius’ and what that meant then and what that means today” during her time at the McMichael. Through research and interpretive planning, Vicky Jamieson strives to highlight BIPOC histories with Halton Region Heritage Services, reframing the history of Halton and its communities. Similarly, as a research assistant with the Indigenous Virtual Living Archive, Amanda Berardi has practiced prioritizing Indigenous knowledge and people.

Master of Museum Studies students looking ahead to our bright futures! Photo courtesy of Melissa Mertsis. 

The recentering of diverse narratives is so important in the field. Bold thinking on how this can be brought to our professional practice led to the formation of student-led group Museum Professionals of Colour (MPOC). MPOC works to “[address] the lack of racial diversity and representation” both within the faculty and beyond. By continuously asking questions, centering underrepresented narratives, reading, and learning, graduates of the MMSt program can bring fresh perspectives to a changing field.

Grad school can be a time of stress and uncertainty, but it is also a time of exploration and tremendous growth. Armed with incredible experiences, a well-rounded and diverse skill set, and a drive to innovate, we have no doubt that our peers will continue to make a difference in their respective corners of the museum field. Look out, museum world, here we come!

REACHING OUT; REACHING IN: ALUMNI CHECK-IN

Alumni Check-In | Elizabeth Cytko

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University College and King's Circle. Photo courtesy of Elizabeth Cytko

As a new museum studies student, starting this degree can be overwhelming. A few of the things occupying your time include: learning all the theory, discovering free food events, project management, the names of your cohort and participating in extracurricular activities (and yes I am going to pretend riding the TTC counts as extracurricular.)

One of the first things you learn is that there are a lot more jobs in the museum industry than is “advertised” in popular culture. So many jobs, so little time, and how do you even begin to discover the pros and cons of each one?!

Being a student gives you a secret super power, which I suggest you use – Student Status.

via GIPHY

 Professional interviews are one of the best ways to make connections, make new friends, and discover potential paths for your career. Student status means having an excuse as to why you want to reach out to professionals in the field, and ask them what their job is about.

I know this from personal experience. For the past 9 months I have had the privilege to interview alumni from the Museum Studies program. This means I reached out to persons (who often I had never met before!) to ask them what life is like after graduation. The alumni have been friendly, gracious, and eager to share their experience.

Human impact on environment comes in all sorts of forms. Museum preservation is beyond objects, and includes complicated discussions. For example, how could a museum professional raise awareness for the need to preserve native prairie landscapes? Canola Field, Alberta. Photo courtesy of Elizabeth Cytko

Initially, what I had felt to be rather scary and intimidating has turned into a column I look forward to initiating. Who can I ask next? What exciting things are happening out in the field? Even though these alumni are across the continent and working in different museums, many of their concerns are shared. Through interviews, themes such as the environment, decolonization and technology are all repeated again and again. My eyes have been opened to the fact that the museum community is tight knit and comes together to work on some of the most complicated issues.

Some of the alumni have even thrown down challenges for the museum professionals (new and old) to tackle.

Kate Wolforth asks us to consider the waste of exhibitions, and what happens to the signage, packaging, and materials used afterwards. Is it justifiable that so much ends up in the dump?

Roderick MacLean asks how historic sites (and museums in general) can adapt to the longer visitor seasons due to global warming. Will it be the new trend to hire past the Summer season, into the Fall?

And Deborah Robichaud tasks new professionals to incorporate environmental scans into their daily practice, and ask “What are the big issues in the world and how do they affect museums?”

I am excited to present you the new interviews in this upcoming semester, and I hope that you too are inspired to reach out to the alumni network. Remember, in a few short years, you will be an alumnus, and a nervous student might reach out to you!


If you want to reach out to me, feel free to!

elizabeth.cytko@mail.utoronto.ca

TO SAVE OR NOT TO SAVE?

CONSERVATION TIPS & TRICKS

BY: SELIN KAHRAMANOGLU

Welcome to my final article for the summer! I'd like to indulge in a little ancient Greek symposium, and explore a hotly debated topic in conservation practices: How do you decide which artifacts deserve saving? *sips wine* Let’s discuss.

Source.

The reason why this question raises some eyebrows is because everyone’s has an opinion. Even professionals disagree on the circumstances surrounding object conservation. Unfortunately, the alternative is quite drastic: Without conscious care, objects will naturally disintegrate, and in most cases there’s no possible recovery. As a conservator, quite literally, the object’s life is in your hands. Will you save it, or let it go?

Let’s look at three common criteria that help conservators make this decision easier:

1) Quality of Condition 

Source.

Friend, if your artifact looks like it's beyond repair, then it’s probably too late. Based on how much time and resources is needed to recover the original state of the object, then the conservator will decide if it is worth the effort. It doesn’t matter how wonderful the object may be, if it’s already too damaged, then conservators are less likely to work with it.

• A shattered vase, a skull with missing teeth, a painting with discolouration, a book with an unraveling binding, etc. – These are all objects that can be saved. The tasks may be complex, but that just means that it will take more time. It is not impossible.

2) Necessary Tools

Source. 

Do you need the pigment of a plant that only grows in some inhabitable land? Then, my condolences, your object can't be saved. Not all conservators are fortunate enough to have every tool at their disposal. Even if the conservator is prepared to put in the extra effort, acquiring new tools takes funding, and not every institution is willing to pay a few thousand dollars to save a single ceramic plate. 

• Let’s say that you have a generous sponsor, who buys all the tools you’ve been dreaming about. Do you know how to use them? Even with all the latest technologies, conservators must have the expertise needed to use these tools, which can take years to learn and special training.

3) Cultural Heritage Value

Source.

Here’s where things get tricky. When discussing conservation, this is the topic that causes the most disagreements among professionals. Conservators need to decide whether or not the object is a cherished part of history to determine if it should be saved. There's lots of questions that need answering, and decisions can be swayed by personal views. 

• Is the artifact the only one of its kind? Who has the right to decide if it's historically valuable? What criteria are they using? How was the object acquired by the museum? Is it useful in the future? – There’s a lot of uncertainty that accompanies questions of value because it is based on individual perspectives and interpretation.

Thankfully, conservation is not always so complex. Conservators often debate with each other to gain new insights, and challenge one another for alternative approaches. Professionals practice open communication and partnership when deciding to conserve an object. Many times, conservators agree about how to best protect an artifact. 

Source.

Remember: If an object is considered unqualified for conservation treatment, it is not lost forever. Some artifacts are meant to deteriorate as part of their meaningfulness to the culture. These days, objects can be reproduced, or preserved through digital means (i.e. 3D scanning, virtual archaeology). Conservators just try to do the best that they can for each object, and roll with the punches!

The next time you think about conservation at the museum or archaeological site (check out my first and second articles), consider the above criteria and don’t be afraid to ask the tougher questions! Discussions have the potential to spark new ideas. *sips more wine* 

Source.

What do you think? Comment below! 

Further Reading:
https://www.nedcc.org/preservation101/session-9/9selection-for-preservation.
https://www.huffingtonpost.com/steve-berry/why-preserving-history-matters_b_1446631.html.
 

RELEVANCE BEYOND THE CLASSROOM

RESEARCH COLUMN

BY: LANA TRAN

I’m driving a proverbial bus right now, and if you have a moment, take a ride with me.

Now that first semester is nearing its end, it’s time to take your pulse. We all wrote letters of intent before signing up to become the next generation of museum professionals. What was your intent? What was the intention of your intent?

In truth, our submissions are self-promotion tools, demonstrations of our love for the field –what we can do for museums, and what they can do for us. While we extrapolate our intentions to the role of museums in society, many of us smuggle that bit of selfish ambition: the curator with the corner office. Let’s start by curating our Pinterest boards – ethno-bling and hanging showpieces for that dream job.

We still speak about civic engagement as if we are not civilians –What should we teach them? Will they understand? Will it be entertaining? Again, intention comes into play: We speak of idyllic museums, decolonizing museums, new museums. But this is a classroom, and its easy to speak in should be’s.

Take your pulse: are you living outside the classroom? Have you stepped outside the safety of (a written paper, an exhibition assignment, an internship) and tried something completely unrequested, but sorely needed? When a civic issue gives you a twinge, ask yourself what action you can take with the resources at hand. It could be an ad-hoc workshop, a guerilla exhibition, or a collective of students who feel the same way. The license to make mistakes and learn from them has an expiry date –it is much harder to gamble with institutional time and money than your own. Clichés be damned, now is the time to experiment.

Whether the supercilious tone of this article irks you or bores you, we all need to recognize that academia can be just as insular as museums themselves.

NAUGHTY OR NICE: PROPER CONSERVATION PROTOCOL

CONSERVATION TIPS & TRICKS

BY KRISTEN MCLAUGHLIN

In the spirit of the holidays, Conservation Santa has decided to pay a visit to the Musings blog! He was very concerned that there are some naughty people out there, ignoring some basic conservation protocols. But don’t worry, he’s very understanding and just wants everyone to be safe and to protect the objects! So he's offered to share his criteria with us on what are some good and not-so-good conservation practices in museum spaces.

Conservation Santa, sporting protective glovewear… and shocked at what he sees!

Conservation Naughty List	Conservation Nice List
• Touching artifacts with bare hands.	• Wearing protective gloves. Cotton gloves are more common and work well for objects of more durable materials (rock, ceramic, but it DOES get slippery), but nitrile gloves work best for items that may snag on cotton, such as organic materials like wood, cord, or textiles. • NOTE: cotton gloves, despite washes, may not actually be clean. Be cautious about reusing them.
• Improper preparation and movement of objects.	• Clear spaces and paths before moving objects. • Never lift by protruding parts like handles or rims; always pick up by the bottom to support the weight. Use two or more people if necessary.
• Letting small items roll around in transport.	• Place small items in a protected tray before transport
• Using improper storage materials, such as regular cardboard boxes, regular tissue paper, etc. These items can increase the speed of degradation, particularly if your object is protein-based like leather.	• Use archival quality storage materials to preserve the objects (especially if they are organic) • Archival quality cardboard boxes • Archival quality tissue • Archival quality foam (for support and shelving) • Archive quality pens (for number writing)
• Artifact photography: Improper stage set (no protective materials like cloth, supports, etc.) and unnecessary use of flash.	• Artifact photography: prepare stage with proper materials and consider lighting and flash, particularly with artwork.
• Not filling out condition reports when needed!	• Condition reports must be filled out with objects arrive in the museum, when status is updated, and when items are loaned out of the museum or into the museum. This keeps track of the condition of the artifact and allows staff to know when damage has occurred. • NOTE: Google for condition report templates if you are unsure what criteria to use!
• Improper monitoring of air quality, relative humidity, and temperature, or not keeping track of it at all! • Otherwise can cause moulding, flaking, breaking,	• It is important to the life of an object that environmental monitoring is performed regularly. • Invest in air conditioners, humidifiers, air purifiers, and hygrothermographs for accurate room-specific readings. Try to put one of each in rooms that house collections and galleries.
• Not having a pest control procedure and letting them run wild in your museum! • This includes mould.	• Create a pest control procedure so all staff know what to do to preemptively stop pests or what to do if pests are sighted. • Prevalent pests are silverfish, moths, beetles, and mould. • Templates can be found on Google but important things to consider are: how and when to inspect rooms, what to look for on each possible pest, insect control strategy (i.e.: keeping food out of the backrooms) and who to contact if pests are sighted. • NOTE: be aware of incoming collections and where they are coming from/their storage. If not sure, un-box items off-site and monitor before allowing into the museum.
• Dangerous storage rooms: rooms with heating or drainage pipes, storage where boxes of artifacts are on the ground and not raised up, storage rooms where temperature and humidity fluctuate.	• Find storage rooms that are clear of pipes (if possible); make sure there are shelves that raise boxes up off of the ground; make sure to monitor temperature and humidity (as above); lock the space; no eating or drinking.

Does your museum land on the naughty list or the nice list? Make sure to update your conservation procedures if you are unsure (or sure you’re on the naughty list)!

SOURCES

http://canada.pch.gc.ca/eng/1439925169939

http://canada.pch.gc.ca/eng/1439925170131/1439925167388

http://nautarch.tamu.edu/CRL/conservationmanual/

https://www.nps.gov/museum/publications/conserveogram/01-12.pdf

http://thestillroomblog.com/2013/02/25/museum-monday-get-rid-of-those-white-cotton-gloves-time-for-nitrile/