A Forum, Not a Temple: Notes on the Return of Iconography to the Museum

Author(s): Brian Wallis

Source: American Literary History, Vol. 9, No. 3 (Autumn, 1997), pp. 617-623
Published by: Oxford University Press
Stable URL: http://www.jstor.org/stable/490183
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A
F o r u m ,
N o t a
Tem ple:
N o t es o n t h e R et u r n o f
Ico n o gr a ph y
t o t h e Mu s eu m
Br ia n Wa llis
A n o ld
gr a du a t e
s ch o o l
pr o f es s o r
o f m in e u s ed t o t ell a
s t o r y,
wh ich h e s wo r e wa s
t r u e,
a bo u t t h e a r t h is t o r ia n Er win
Pa n o f s ky
a n d
ico n o gr a ph y,
"t h a t br a n ch o f t h e
h is t o r y
o f a r t
wh ich co n cer n s it s elf wit h t h e
s u bject
m a t t er o r
m ea n in g
o f
wo r ks o f
a r t ,
a s
o ppo s ed
t o f o r m "
(26).
It s eem s t h a t
Pa n o f s ky
h a d been in vit ed t o
give
a lect u r e a t a
m a jo r
n o r t h ea s t er n m u -
s eu m
(t h e
Wa ds wo r t h
A t h en a eu m ,
I
believe)
a n d t h e
cu r a t o r ,
in
m a kin g
co n ver s a t io n wit h t h e
ico n o gr a ph er , s a id, "Oh ,
t h is
is
gr ea t .
Yo u will be a ble t o s ee o u r
m a s t er piece by
Pier o di Co s -
im o ,
a bo u t wh ich
yo u
h a ve wr it t en s o
per cept ively." R eplied
a
s t r a igh t -f a ced Pa n o f s ky, "Wh y
s h o u ld Ih a ve t o s ee t h e
pa in t in g?
I've
go t
a
ph o t o gr a ph
o f it
r igh t
h er e."
In
cla s s ,
t h is wa s m ea n t a s a
pa r a ble
a bo u t t h e
per ils
o f t h e
ico n o gr a ph ic
m et h o d a n d t h e
f o lly
o f
n eglect in g
t h e a ct u a l wo r k
o f a r t in f a vo r o f t ext -ba s ed
m et h o do lo gies
t h a t
a t t em pt
t o dis en -
ga ge
t h e
im a ge
f r o m t h e
o bject .
Bu t t o m e t h e a n ecdo t e
a lwa ys
s eem ed t o ca s t a n u n f a vo r a ble
ligh t
o n t h e
a r ch a ic, o bject -ba s ed
ch a r a ct er o f t h e m u s eu m . In
m yr ea din g,
it wa s t h e cu r a t o r wh o
wa s
r ea lly
t h e bu t t o f t h e
jo ke,
s in ce h e wa s t o o bo u n d t o t h e a r t
o bject
t o s ee it s r ea l
m ea n in g
a n d
wa s , a ppa r en t ly, in s u f f icien t ly
ver s ed in
co n t em po r a r yt h eo r y. Hen ce,
t h is wa s a n
a llego r y
a bo u t t h e m u s eu m 's la ck-a la ck o f
ico n o gr a ph y.
A s it
h a ppen s , m a n y
m u s eu m cu r a t o r s o f
Pa n o f s ky's da y
a ct u a llypr ided
t h em s elves o n
s u ppr es s in gpr ecis ely
t h e s o r t o f
s u bject
m a t t er a n d
in t er pr et a t io n
t h a t
ico n o gr a ph y
s eeks t o a n a -
lyze.
Un t il
r ecen t ly,
in
f a ct ,
m o s t m u s eu m s in s is t ed o n a decid-
edlyn eu t r a l,
even
"s cien t if ic, "
a ppr o a ch
t o t h e
s t u dy,
co n n o is -
s eu r s h ip, cla s s if ica t io n ,
a n d
pr es er va t io n
o f
a r t if a ct s ,
n o m a t t er
h o w
a r bit r a r y
t h eir
co llect in gt ech n iqu es m igh t
h a ve been . F o r
exa m ple,
A lf r ed H.
Ba r r , Jr .,
dir ect o r o f t h e Mu s eu m o f Mo der n
A r t in t h e 1930s a n d
'40s , pr o u dly
cla im ed t h a t t h e wo r ks in h is
m u s eu m dem o n s t r a t ed "a n elim in a t io n o f a wide
r a n ge
o f va lu es
618 A
F o r u m ,
N o t a
Tem ple
His t o r ica lly,
m u s eu m s
h a ve
o f t en
s er ved t o
pr o m o t e
cu lt u r a l
do m in a t io n wit h in
develo pin gpu blics ph er es
o r t o
r eplica t e
t h e
m ech a n is m s
o f po wer
in
lo ca l co m m u n it ies .... It
is in t h e
gen er a l
in t er es t
o f
m u s eu m s , t h en ,
t o
den yico n o gr a ph ies o f
s o cia l
dif f er en ce
a n d
s u bo r din a t io n -ba s ed o n
cla s s ,
gen der ,
"r a ce, "
r eligio n ,
o r
n a t io n a lit y-
in o r der t o m a in t a in t h e
f ict io n o f
s h a r ed o r
"u n iver s a l"
o pin io n s ,
wh ich is
ju s t
a n o t h er
wa y
o f def in in gideo lo gy
it s elf
s u ch a s t h e co n n o t a t io n s o f
s u bject m a t t er , s en t im en t a l,
do cu -
m en t a r y, po lit ica l, s exu a l, r eligio u s " (86). Des pit e
t h e f a ct t h a t
Ba r r wa s
s pea kin g pr im a r ily
o f a bs t r a ct
a r t ,
t h e a s s er t io n t h a t
a n y
a r t o r
a n y
m u s eu m co u ld
s u ppr es s s u bject
m a t t er a n d
po lit i-
ca l o r s exu a l co n n o t a t io n s dem o n s t r a t es t h e
f u n da m en t a lly
ideo -
lo gica l po s it io n a do pt ed by
m o s t m u s eu m s . R ecen t a r t h is t o r ia n s
h a ve dem o n s t r a t ed
h o w,
in t h e ca s e o f t h e Mu s eu m o f Mo der n
A r t ,
t h is def lect io n o f co n t en t n o t
o n ly
o bs cu r es
a n ypo t en t ia l
ico n o gr a ph icr ea din g
o f a bs t r a ct a r t bu t s er ves t o in cu lca t e t h e
viewer in t o t h e
la r ger pr et en s e
o f "dis in t er es t ed" cu lt u r e
(a r t
h is -
t o r ia n s Ca r o l Du n ca n a n d A la n Wa lla ch h a ve ca lled t h is
pr a ct ice
a "la t e
ca pit a lis t r it u a l").1
His t o r ica lly,
m u s eu m s h a ve o f t en s er ved t o
pr o m o t e
cu l-
t u r a l do m in a t io n wit h in
develo pin gpu blics ph er es
o r t o
r eplica t e
t h e m ech a n is m s o f
po wer
in lo ca l co m m u n it ies .
Th ey
do n o t
m er ely
r ef lect o r co llect cu lt u r e
f o r m s ,
bu t
a ct ivelypr o du ce
a n d
r epr o du ce
t h em . It is in t h e
gen er a l
in t er es t o f
m u s eu m s , t h en ,
t o
den yico n o gr a ph ies
o f s o cia l dif f er en ce a n d s u bo r din a t io n -
ba s ed o n
cla s s , gen der ,
"r a ce, "
r eligio n ,
o r
n a t io n a lit y-in
o r der
t o m a in t a in t h e f ict io n o f s h a r ed o r "u n iver s a l"
o pin io n s ,
wh ich
is
ju s t
a n o t h er
wa y
o f
def in in gideo lo gy
it s elf . A s
a n t h r o po lo gis t
Clif f o r d Geer t z h a s
s a id, "Ideo lo gies
a r e
im po r t a n t
in
def in in g
(o r o bs cu r in g)
s o cia l
ca t ego r ies ; s t a bilizin g(o r u ps et t in g)
s o cia l
expect a t io n s ; m a in t a in in g (o r u n der m in in g)
s o cia l
n o r m s ;
s t r en gt h en in g(o r wea ken in g)
s o cia l
co n s en s u s ;
a n d
r elievin g(o r
exa cer ba t in g)
s o cia l t en s io n s "
(203).
A s cu lt u r a l
t ext s ,
m u s eu m s f u n ct io n a s
s pecia lized
co llec-
t io n s o f
o bject s
a s s em bled in t o f ict io n a l n a r r a t ives t h a t
pr o f f er
cer t a in
in t er pr et ive r ea din gs .
Th e s t o r ies m u s eu m s t ell a r e
gen er -
a llyexpr es s ed
n o t s o m u ch
t h r o u gh
t h e o ver t
la n gu a ge
o f ca t a -
lo gu es
a n d wa ll t ext s a s
t h r o u gh
t h e ela bo r a t e
pr o ces s
o f s elec-
t io n a n d
ju xt a po s it io n
o f
o bject s , pa r t icu la r ly
in wh a t is n o t
s a id,
s h o wn ,
o r r em em ber ed. Yet
des pit e
t h is
h igh ly pr o pa ga n dis t ic
m is s io n ,
m u s eu m s
pr es en t
t h eir n a r r a t ives a s
s ea m les s , n a t u r a l,
a n d
u plif t in g.
In r ecen t
yea r s , h o wever , m a n yh is t o r ia n s , cr it ics ,
a n d cu r a -
t o r s h a ve
ch a llen ged
t h is s t a t e o f a f f a ir s . Th e
es s a ys
in t h is vo l-
u m e m a r k t h e
wa ys
a
br o a d, t r a n s dis ciplin a r ypr a ct ice
o f cr it ica l
qu es t io n in g
o f h is t o r ica l n a r r a t ives h a s
begu n
t o r eca s t a n u m ber
o f t r a dit io n a l
s ch o la r lya ppr o a ch es .
In t h e ca s e o f
m u s eu m s ,
t h eir
exh ibit io n n a r r a t ives h a ve beco m e m o r e
s u bject ive,
a n d t h e
qyes -
t io n s cu r a t o r s a s k a r e
beco m in g
m o r e
po in t ed.
Th is dr a m a t ic
s h if t in t h e
wa y
m u s eu m s f u n ct io n a n d h is t o r ica l
kn o wledge
is
co dif ied-wh a t
m igh t
be ca lled t h e r et u r n o f
ico n o gr a ph y-r e-
A m er ica n
Lit er a r yHis t o r y
619
f lect s a
s t r a t egicr et h in kin g
o f t h e r o le o f cu lt u r e in s o cia l f o r m a -
t io n s ,
a
r eca s t in gpr o m pt ed byf em in is m , m u lt icu lt u r a lis m ,
a n d
po s t co lo n ia l
s t u dies .
Us in g
t h es e n ew
per s pect ives
a n d
m et h o do lo gies ,
o ld o b-
ject s
h a ve been
in t er pr et ed
in n ew
wa ys .
A n d
pr evio u s ly
bu r ied
o r
ign o r ed
h is t o r ies h a ve been
given pa r t icu la r
a t t en t io n in
s pe-
cia lized
m u s eu m s ,
s u ch a s t h e Ho lo ca u s t Mu s eu m in
Wa s h in g-
t o n , D.C.,
t h e Mu s eu m o f t h e A m er ica n In dia n in N ew
Yo r k,
a n d t h e Mu s eu m o f A f r ica n A m er ica n
His t o r y
in Det r o it . Bu t
in
a ddit io n ,
t h es e a n d o t h er m u s eu m s o f t en
pr es en t deliber a t ely
po lem ica l r ea din gs
o f
o bject s
dir ect ed t o
s pecif ic
a u dien ces ,
o f -
t en dis t in ct cu lt u r a l
gr o u ps
s u ch a s bla cks o r N a t ive A m er ica n s .
A s a r ecen t a r t icle in t h e N ewYo r k Tim es
n o t ed, "To da y's
exh i-
bit io n s a r e a m a r ked
depa r t u r e
f r o m t h e det a ch ed m u s eu m
pr e-
s en t a t io n s o f t h e la s t t wo cen t u r ies . Th e m u s eu m h a s beco m e
a
f o r u m ,
n o t a
t em ple.
A n d
m es s a ges
a r e t o be
expect ed"
(R o t h s t ein 3).2
A ls o t o be
expect ed
a r e t h e
pa in ed o bject io n s
t o t h is
s weep-
in g
r evis io n is m t h a t h a ve
a r is en , pr im a r ily
f r o m co n s er va t ive
po lit icia n s
a n d co lu m n is t s . In
1995,
f o r
exa m ple,
va r io u s
po lit i-
cia n s a s s em bled a
gr o u p
o f Wo r ld Wa r IIvet er a n s t o
pr o t es t
a
Sm it h s o n ia n In s t it u t io n exh ibit io n o n t h e
bo m bin g
o f Hir o s h im a
wh ich
a t t em pt ed
t o
pr es en t
t h e
Ja pa n es e per s pect ive
a s well a s
r evis e t h e
pr o ject ed
n u m ber o f A llied ca s u a lt ies if t h e bo m b h a d
n o t been
dr o pped.
In 1996 t h e
r es pect ed
cu r a t o r o f t h e Mu s eu m
o f t h e
Cit y
o f N ew Yo r k's exh ibit io n "Ga elicN ew Yo r k" wa s
dis m is s ed wh en s h e r es is t ed t h e
im po s it io n
o f
s t er eo t ypica l
de-
pict io n s
o f Ir is h A m er ica n s . A n d la t er t h a t
yea r ,
a s
pa r t
o f a n
elect io n -yea r ga m bit ,
Ho u s e
Spea ker
N ewt
Gin gr ich pr o t es t ed
a
Ph o en ixA r t Mu s eu m exh ibit io n ca lled "Old
Glo r y"
beca u s e it
s h o wed wo r ks t h a t
in co r po r a t ed-o r ,
in h is
wo r ds ,
"def iled"-
t h e A m er ica n
f la g.
Th is la t es t
ph a s e
o f t h e cu lt u r e wa r s m ir r o r s ea r lier a t t a cks
o n "in decen t " a r t
exh ibit io n s , u n iver s it ycu r r icu la ,
a n d
po lit ica l
co r r ect n es s . Like t h o s e
a s s a u lt s ,
t h e
cla m pdo wn
o n m u s eu m s is
a n
a t t em pt
t o
po lice
wh a t is deem ed
a ppr o pr ia t e
dis co u r s e in
pu blic
in s t it u t io n s ,
o r a t lea s t t o cu r b t h e divis ive
po t en t ia l
o f
s epa r a t is t
h is t o r ies . In t h e ca s e o f
m u s eu m s -a r t , s cien ce,
a n d
h is t o r y-t h e
deba t e is n o t s o m u ch a bo u t
f u n din g
o r eco n o m ics
bu t
pr im a r ily
co n cer n s h o wt h es e in s t it u t io n s
per pet u a t e
o r de-
bu n k cer t a in m o der n is t
ico n o gr a ph ies .
A n d,
like o t h er deba t es
in t h e
a ca dem y,
t h e co n f lict a r o u n d m u s eu m s in vo lves m o r e t h a n
in s t it u t io n a l
pr a ct ices :
it
expo s es deeper
a n d m o r e
pr o f o u n d po -
lit ica l a n xiet ies a bo u t h o wA m er ica n cu lt u r e is o r s h o u ld be
r ep-
620 A
F o r u m ,
N o t a
Tem ple
r es en t ed-n a m ely,
wh o s e cu lt u r e is
dis pla yed, by wh o m ,
f o r
wh o m ,
a n d in wh a t
wa y.
In t h e
pa s t
t wo
deca des , co n t em po r a r y
a r t is t s h a ve
dir ect ly
in f lu en ced
ch a n gin g
a t t it u des t o wa r d h o wt h es e "r ea lit ies " a r e
co n s t r u ct ed
bydevelo pin g
a t h eo r et ica l m o del f o r a
cr it iqu e
o f
m u s eu m
pr a ct ices
a n d
bydr a win g
a t t en t io n t o t h e
s ym bo licpa t -
t er n s a n d la cu n a e in
m u s eo lo gica l
n a r r a t ives .
A m o n g
t h e m o s t
s ign if ica n t pr a ct it io n er s
a r e
A n dyWa r h o l,
Ha n s
Ha a cke,
Ba r -
ba r a
Kr u ger ,
a n d Lo u is e
La wler ,
a n d m o r e
r ecen t ly,
R en ee
Gr een ,
Ma r k
Dio n ,
F r ed
Wils o n ,
A n dr ea
F r a s er ,
a n d t h e co llec-
t ive
Gr o u p
Ma t er ia l. Th eir in t er ven t io n s h a ve
en co u r a ged
cr i-
t ica l
a ppr o a ch es
t o t h e
h is t o r y
a n d
pr a ct ices
o f m u s eu m s
t h em s elves ,
a
gr o win gs en s it ivit y
t o t h e
m is r epr es en t a t io n
o r
n o n r epr es en t a t io n
o f n o n do m in a n t cu lt u r es in m o s t
m u s eu m s ,
a
gr ea t er
a t t en t io n t o h is t o r ica l a n d cu lt u r a l
co n t ext ,
a n d t h e r e-
co n cept io n
o f t h e
m ea n in g
o f a br o a d
r a n ge
o f m a t er ia l cu lt u r e
a r t if a ct s .
Th es e m u s eu m -r ela t ed a r t is t 's
pr o ject s
h a ve
gen er a lly
t a ken
o n e o f t wo f o r m s : in s t it u t io n a l
cr it iqu e (t h e
u s e o f
a s pect s
o f
t h eir o wn wo r k t o ca ll a t t en t io n t o
ideo lo gica lly
co ded
a s pect s
o f t h e m u s eu m
a r ch it ect u r e, dis pla y,
o r
do cu m en t a t io n )
o r co m -
m is s io n s t o "r ein s t a ll" t h e m u s eu m 's
exis t in g
co llect io n s . Bo t h
s t r a t egies
in vo lve a cco m m o da t io n s t o t h e co n ven t io n s o f t h e m u -
s eu m
s et t in g
a n d
bu r ea u cr a cy,
bu t s in ce bo t h
r eplica t e pr eex-
is t in g
m u s eu m
jo b
f u n ct io n s
t h eyes s en t ia llyem plo y
a r t is t s t o do
t h e s a m e
t h in g
in a n ew
wa y. St ill,
t h es e n ewcr it ica l m et h o do lo -
gies
o f t en r a is e cr u cia l is s u es :
t h eym a ya t t em pt
t o r edr es s
pa s t
r epr es en t a t io n a l
o r s t r u ct u r a l
in ju s t ices ; t h eym a y
s eek t o
po s e
qu es t io n s
a bo u t
po wer , co n t ext ,
r ecept io n ,
a n d
m ea n in g;
o r
t h ey
m a y
s h o wla t en t
m ea n in gs byr eo r ga n izin g
o r
r eco n t ext u a lizin g
a r t if a ct s ,
s o m et im es
u n veilin g
t h e s o r t s o f
o bject s
t h e m u s eu m
wo u ld
pr ef er
t o
keep
h idden . Su ch
in t er r o ga t io n s ,
o f t en in t h e
f o r m o f
s it e-s pecif icin s t a lla t io n s ,
co n s t it u t e a s o r t o f co u n t -
er m em o r y,
a
pr a ct ice
t h a t
per s is t en t lyqu es t io n s
do m in a n t
m o des o f
co n s t r u ct in g
t h e
pa s t
wh ile a t t h e s a m e t im e
s eekin g
t o
r ecu per a t e s u bm er ged
h is t o r ies o r
m ea n in gs .
A n
elo qu en t exa m ple
o f t h is s o r t o f
m u s eo lo gica l
a r ch a eo l-
o gy
is F r ed Wils o n 's 1992 exh ibit io n a t t h e
Ma r yla n d
His t o r ica l
So ciet y
ca lled
"Min in g
t h e Mu s eu m "
(s ee Co r r in ). Wils o n ,
a n
A f r ica n -A m er ica n
a r t is t ,
wa s co m m is s io n ed
by
t h e
Co n t em po -
r a r y,
a n a lt er n a t ive
s pa ce
in
Ba lt im o r e,
t o
in ves t iga t e
a n d in t er -
pr et
t h e co llect io n s o f t h e h is t o r ica l
s o ciet y.
Wh a t h e f o u n d wa s
a
dis pla ced h is t o r y
o f A f r ica n A m er ica n s in
Ma r yla n d. R epr e-
s en t a t io n s o f bla cks o r
o bject s
o wn ed a n d m a de
by
t h em wer e
n o t a bs en t f r o m t h e
m u s eu m , t h ey
wer e
ju s t co n s ign ed
t o t h e
A m er ica n
Lit er a r yHis t o r y
621
ba s em en t a n d a bs en t f r o m t h e
t ellin g
o f t h e m u s eu m 's
s t o r y,
wh ich t en ded t o f o cu s o n
co u n t r yes t a t es ,
du ck
h u n t in g,
a n d
Ma r yla n d's
co n t r ibu t io n s t o t h e Civil Wa r .
Sea r ch in gt h r o u gh
t h e m u s eu m 's
s t o r er o o m s ,
Wils o n f o u n d
o bject s
t h a t n o t
o n ly
cla r if ied h is o wn
pa s t
bu t
s u gges t ed wh y
a n d h o wit h a d been o c-
clu ded.
Bybr in gin g
t h es e o f t en
u n except io n a l o bject s
t o
ligh t
a n d
m er elya lt er in g
t h eir
co n t ext s -lit er a llym o vin g
t h em f r o m ba s e-
m en t t o exh ibit io n
s pa ce-Wils o n
wa s a ble t o co n s t r u ct f r es h
r ea din gs
a n d n ew
ico n o gr a ph ies .
His
dis pla y
o f n in et een t h -
cen t u r ypo r t r a it s
f o cu s ed o n t h o s e in wh ich bla ck s er va n t s lu r ked
in t h e
ba ckgr o u n d,
cla s s ica l bu s t s o f wh it e A m er ica n h er o es wer e
ju xt a po s ed
wit h
em pt ypedes t a ls
f o r t h eir a bs en t bla ck co u n t er -
pa r t s ,
a n d a ch ild's Ku Klu x Kla n r o be wa s la id in s ide a n
o pu len t
ba byca r r ia ge.
Th es e
u n expect ed co n ju n ct io n s gen er a t ed
co n -
t r a s t s a n d
o ppo s it io n s ,
wh ich in t u r n
ga ve ideo lo gica lly
r ich
s ig-
n if ica t io n s t o t h e o ver lo o ked
o bject s . Byign o r in g
t h e
gr a n d
a n d
h er o icin
h is t o r y
a n d
f o cu s in g
o n t h e m is cella n eo u s a n d t h e
ba n a l,
t h e
f o r go t t en
a n d t h e
ever yda y,
Wils o n wa s a ble t o
h elp
o t h er s t h in k
cr it ica lly
a bo u t bu r ied
m ea n in gs
a n d t h e co n s t r u c-
t io n o f
h is t o r y.
On e o f t h e
key
les s o n s o f t h is
t ype
o f exh ibit io n co n cer n s
t h e f a ls e divis io n bet ween
h igh
a r t a n d m a t er ia l cu lt u r e.
By
co m -
bin in g
a cr it ica l cu r a t o r ia l
m et h o do lo gy
wit h a n in t er ven t io n is t
a r t is t ic
pr a ct ice,
Wils o n wa s a ble t o m a ke a
s o ph is t ica t ed po lit i-
ca l
a r gu m en t t h r o u gh
t h e
ju dicio u s deplo ym en t
o f a f ew
s im ple
bu t
s ym bo lico bject s
f r o m
ever yda y
lif e. R ecen t m u s eu m exh ibi-
t io n s h a ve beco m e s o
in f la m m a t o r ypa r t ly
beca u s e
ju s t
s u ch r e-
def in it io n s o f m a t er ia l cu lt u r e h a ve a llo wed f o r t h e r eco n s ider a -
t io n o f s u ba lt er n
co m m u n it ies , m a n y
o f wh ich
ign o r ed
o r
co n s cio u s lyr eject ed
t r a dit io n a l
Eu r o pea n
f o r m s o f a r t . N ew
co n cept s
o f m a t er ia l cu lt u r e h a ve a ls o
ch ipped a wa y
a t t h e o ld
dis t in ct io n s bet ween
h igh
cu lt u r e a n d f o lk a r t o r bet ween
h igh
a r t a n d
po pu la r
cu lt u r e,
in
pa r t t h r o u gh t r a cin gs pecif ic
ico n o -
gr a ph ies
a cr o s s a br o a d
r a n ge
o f m ediu m s a n d f o r m s .
Dea lin g
wit h t h e co m m o n a n d t h e
ever yda y,
wh ile n o t n ec-
es s a r ily
m o r e
dem o cr a t ic,
o f t en h a s t h e a ddit io n a l a t t r ibu t e o f
o f f er in gper t in en t m ea n in gs
t o a wider
r a n ge
o f viewer s . Th is
"r et u r n o f t h e r ea l" n o t
o n lyr eco gn izes
t h e
po wer
o f t h e
o r din a r y
a n d t h e
co m m o n pla ce
bu t a ls o dis a llo ws t h e o f t en
a r bit r a r y
a n d
ideo lo gica l
dis t in ct io n s bet ween
t ypes
o f a r t if a ct s a n d a s ks cr it i-
ca l
qu es t io n s
a bo u t t h e r o le o f
o bject s
in o u r
da ilys o cia l, po lit i-
ca l,
a n d
per s o n a l
in t er a ct io n s .3
Th is is a r et u r n t o t h e
plea s u r es
a n d co n t r a dict io n s o f
ever y-
da y
lif e t h a t t h e
co n cept u a l ca t ego r ies
a n d
s t r a t egies
o f cr it ica l
622 A
F o r u m ,
N o t a
Tem ple
po s t m o der n is m (t h e s pect a cle, s im u la t io n ,
a n d t h e deco n s t r u c-
t io n o f
r epr es en t a t io n
a n d
iden t it y)
o f t en t en ded t o elide. It is a n
in f o r m ed r evis it a t io n t o t h e cr it ica l
t h eo r y
o f Wa lt er
Ben ja m in
a n d Er n s t
Blo ch ,
in
ligh t
o f Br it is h cu lt u r a l
s t u dies , Sit u a t io n is m ,
po s t m o der n is m ,
f em in is t
t h eo r y,
cr it ica l
a n t h r o po lo gy,
a n d m a -
t er ia l cu lt u r e s t u dies . In s u ch co n t ext s
ico n o gr a ph y
is n o t a
pr o b-
lem in n eed o f a
cr it iqu e
bu t "a s it e wh er e
ideo lo gy
a n d it s r es is -
t a n ce a r e lived o u t in a ll t h eir
m es s yco n t in gen cy" (R o ber t s 30).
A s we n ea r t h e en d o f a
per io d
t h a t m u s eu m s s u ch a s t h e
Wh it n ey
Mu s eu m o f A m er ica n A r t a r e
ca llin g
"Th e A m er ica n
Cen t u r y, "
it is
im po r t a n t
t h a t m u s eu m s exa m in e n o t
o n ly
t h eir
pu t a t ive s u bject s
bu t t h eir
ideo lo gica l
bia s es a s well. Th is will
in vo lve
r et h in kin g m et h o do lo gies
a n d
ico n o gr a ph ies
f o r wh a t
t h eys a y
a bo u t t h e co n s t r u ct io n s o f
"r a ce, " gen der , cla s s ,
a n d n a -
t io n . In s u ch
ca s es ,
cr it ica l
t h eo r y
is n o t
en o u gh ;
we m u s t r eex-
a m in e cu lt u r a l
o bject s
a n d s o cia l
pr a ct ices
t o u n der s t a n d t h e
pa t -
t er n s o f
ever yda y
lif e t h a t
s h a pe
t h e
pa s t
a n d
im pr in t
t h e f u t u r e.
N o t es
1. A s Du n ca n a n d Wa lla ch a n d o t h er cr it ics h a ve
s h o wn ,
t h e
po s t wa r
A m er i-
ca n a r t m u s eu m is
s h a ped by
a n d
h elps
t o
m a n u f a ct u r e s pecif ic
ver s io n s o f cu l-
t u r a l
h is t o r y
t h a t a r e
co m plica t ed by
a n
a r r a y
o f m o t ives a n d ef f ect s : t h e
pr o -
m o t io n o f
h igh
cu lt u r e in t h e Un it ed
St a t es ,
t h e
a ppr o pr ia t io n
o f wh it e
Eu r o pea n
a es t h et ic
s t a n da r ds ,
t h e co n s t r u ct io n o f a n
equ iva len ce
bet ween a r -
t is t icf r eedo m a n d
po lit ica l dem o cr a cy,
a n d t h e
s u ppr es s io n
o f
s pecif icpo lit i-
ca l co n t en t .
2. A n o t h er r ecen t
a r t icle,
t h is a n
u n s ign ed
edit o r ia l f r o m t h e N ew Yo r k
Po s t ,
s a ys , "Co n t em po r a r yico n o gr a ph y,
t o be
s u r e,
is
qu it e co m plica t ed;
A m er ica n s
h a ve
a cqu ir ed
a m u lt it u de o f s en s it ivit ies o f
la t e,
a n d t h er e a r e
plen t y
o f f o lks
a n xio u s t o r em a ke
h is t o r y
t o r ef lect t h eir o wn
pa r t icu la r
view o f t h e wo r ld-
n o m a t t er h o w
ba dly
t h e t r u t h m u s t be
m a n gled
t o a ch ieve t h e des ir ed ef f ect ."
3. A r t His t o r ia n Ha l F o s t er h a s
r ecen t ly
r ef er r ed t o t h es e a r t is t
in ves t iga t io n s
o f cu lt u r a l
o bject s
a n d s o cia l
pr a ct ices
a s
pa r t
o f a br o a der "r et u r n o f t h e r ea l."
By
"t h e
r ea l, "
h e m ea n s a ct u a l bo dies a n d s o cia l s it es a s
o ppo s ed
t o t h e t ext u a l
m o dels o r s im u la t io n s o f
po s t m o der n t h eo r y. Gen er a lly, ico n o gr a ph ym igh t
be
co n s ider ed a s a t ext u a l
m et h o do lo gy a n d, h en ce,
o u t m o ded.
Bu t , byr et u r n in g
t o h is t o r ica l
o bject s
a n d
t a kin g
wh a t F o s t er ca lls a n
"et h n o gr a ph ica ppr o a ch "
t o
cu lt u r e,
r ecen t cr it ica l a r t is t s h a ve
given
n ew
m ea n in g
a n d
po lit ica l po wer
t o t h e
pr a ct ice.
Wo r ks Cit ed
Ba r r ,
A lf r ed
H.,
Jr . "Cu bis m a n d A b- Mo der n A r t . Select ed
Wr it in gs o f
A l-
s t r a ct A r t : A n In t r o du ct io n ."
Def in in g f r ed
H. Ba r r , Jr . Ed.
Ir ivin g
Sa n dler
A m er ica n
Lit er a r y His t o r y
623
a n d
A m y
N ewm a n . N ew Yo r k: A b-
r a m s ,
1986. 86.
Co r r in , Lis a , ed., Min in g
t h e Mu s eu m .
N ew Yo r k: N ew
Pr es s ,
1993.
Du n ca n , Ca r o l,
a n d A la n Wa lla ch .
"Th e Mu s eu m o f Mo dem A r t a s La t e
Ca pit a lis t
R it u a l." Ma r xis t
Per s pec-
t ives 1.4
(1978):
28-51.
F o s t er ,
Ha l. Th e R et u r n
o f
t h e R ea l:
Th e A va n t -Ga r de a t t h e En d
o f
t h e
Cen t u r y.
Ca m br idge:
MIT
P,
1996.
Geer t z,
Clif f o r d.
"Ideo lo gy
a s a Cu l-
t u r a l
Sys t em ."
Th e
In t er pr et a t io n o f
Cu lt u r e. N ew Yo r k: Ba s ic
Bo o ks ,
1973. 203.
Pa n o f s ky,
Er win .
"Ico n o gr a ph y
a n d
Ico n o lo gy:
A n In t r o du ct io n t o t h e
St u dy
o f R en a is s a n ce A r t ."
Mea n in g
in t h e Vis u a l A r t s . Ga r den
Cit y:
Do u -
bleda y,
1955.
"Po lit ica lly
In co r r ect F DR " Edit o -
r ia l. N ew Yo r k Po s t 25
A pr .
1997: 26.
R o ber t s ,
Jo h n . "Ma d F o r It !" Th ir d
Text 35
(Su m m er 1996):
30.
R o t h s t ein ,
Edwa r d. "Mu s eu m s Th a t
Tell Wh a t t o Th in k." N ew Yo r k Tim es
20
A pr . 1997,
s ec. 4: 3.