Michael Eriksson's Blog

A Swede in Germany

Posts Tagged ‘museums

A few impressions after a museum visit

with one comment

Yesterday, being driven out of my apartment by construction noises, I decided to finally visit the Wuppertal “von der Heydt” museum, renowned* as a high-quality art museum.

*In this, it was a bit of a disappointment, but my standard of comparison is likely unfair, as I, when it comes to art, have mostly visited major museums in considerably larger cities, including the Louvre and the Amsterdam Rijksmuseum.

A few abstract (non-art) observations:

  1. As with most other museums, there was little focus on providing information. A museum visit should be a learning experience, and while just looking at objects can be valuable, additional information can make a critical difference. All too often this opportunity is not taken, or not sufficiently taken through the information being too basic or too dumbed-down.

    This might be true to a higher degree for a non-art museum, but even for art it can be important, including (depending on the work and expectable prior knowledge) historical situation, biographic background, and the intentions of the artist. This especially with modern art, which is often obscure and open to a multitude of interpretations, and with artists that are not widely known (as with many in this museum).

  2. A pamphlet given to me when I bought my ticket went on at length about various measures to entertain children and to bring children into the museum. This not only repeats an ever-recurring error by museums, it also extends it to art museums, which is a new low. The purpose of a museum is to provide a learning experience—not cheap entertainment. The presence of children does little to help the children and much to ruin the experience for the adult visitors. Cf. e.g. an excursion on neglecting core groups in an earlier text.

    (However, I did not actually encounter any children.)

  3. The museum was in parts amateurish, starting with the truly sub-standard website, vdh.netgate1.net, which does not even bother with an own domain and is highly uninformative, poorly implemented, and out-of-date*. Other issues include an often too long distance between painting and descriptive plaque, a use of wrist-bands to identify paying customers**, and an either an absurd jacket policy or an absurdly behaving individual employee (see the next item).

    *Notably, at the time of writing, it speaks of a Paula Modersohn-Becker exhibition being extended to February 24th, while we have May (!) 25th and a current exhibition on Peter Schenk (cf. below).

    **As opposed to the more common spot to put on the clothing. The poor visibility of said wrist-band led to at least four different employees requesting to see it at different times. To boot, it was hard to remove, ultimately forcing me to simply tear it. (The most positive explanation that can be given is to assume that it relates to the stated ability to leave and re-enter the museum during the day. While this is a nice-to-have, it does not seem worth the trouble, a skilled cheater would likely still be able to remove and re-attach the wrist-band on someone else, and better solutions must be possible, e.g. making the wrist-band an additional option for those who wish to leave.)

  4. A very weird incident has the benefit of illustrating a central point from an older text—a good impression is often based on luck with events and correspondingly misleading.

    Specifically, I entered the museum with my jacket tied around my waist, bought my ticket, and entered the exhibitions with no-one raising one word of protest. I first went to the permanent exhibition, spent a considerable amount of time there, saw two individual employees repeatedly (and showed my wrist-band…), and no-one raised one word of protest. I then went to the temporary exhibit, briefly talked to an employee, who pointed out that I was about to go through the exhibit in the reverse preferred order and recommended that I go to the regular starting point instead (and who wanted to see my wrist-band). She raised not one word of protest concerning my jacket and neither did another employee whom I passed on the way to the starting point.

    At the starting point, however, an odd woman (after asking to see my wrist-band) requested that I take my jacket to the wardrobe one stock down. As I stated that I would prefer not to, she now claimed that it was forbidden to carry a jacket over the arm—yes, arm! As I pointed out the obvious, that I was not carrying my jacket over the arm, she now insisted that a jacket must either be worn in the regular manner or be brought to the wardrobe. She offered no explanation for this, and there is no obvious reason: I could see some point when it comes to jackets-over-the-arm, because they might provide some increased opportunity of smuggling something in or out—but the reverse applies to jackets-around-the-waist, because they provide a smaller opportunity than jackets-worn-regularly.

    I also note that I have never received a complaint in any other museum, including those with far more valuable objects.

    Now, if I had not taken the advice of the prior employee, if I had instead continued in the “wrong” direction, I would either not have encountered this moron or only done so while leaving, when a complaint would have been highly unlikely. (Based on the actual contents of the exhibition, the disadvantage of going in the other direction would have been minimal.)

Excursion on the art:
While the collection on display was well short of the Louvre, it did contain a number of interesting works by less known artists. Most notably, a small hall dedicated to Karl Kunz (previously unknown to me; see e.g. German Wikipedia or a dedicated website) bordered on a revelation, especially through (in the “Dante’s Inferno” images) taking the play on shapes and curves to a point that I* had never seen before. The influence of Picasso is often obvious, and a Dali influence often likely, but he goes well beyond what I have seen by either. (If Dali had attempted art deco while on a hallucinogenic drugs and after spending a few hours looking on paintings by William Blake, the result might have been similar.) Another point of interest was the temporary exhibit on Peter Schenk, one of the first mezzotint experts and a leading cartographer, who was born in Elberfeld, now a part of Wuppertal (indeed, the part in which the museum is located).

*Note that my interest in paintings has always been focused on more classical art, rarely going past the impressionist era, and that I am a layman. Others might have different experiences.

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Written by michaeleriksson

May 25, 2019 at 12:00 pm