Under the Crescent Moon

Title: Belted Crescent + Star

Creator: Christopher Carter

Material: Found materials, leather, caste rubber

Year: 2009

At the African American Museum in Philadelphia there are two exhibitions.  First, is the core exhibition, Audacious Freedom.  The museum also has a temporary gallery that is now exhibiting the art of Christopher Carter. Carter used found material from an old barn (the barn is a former munitions depot from before the Civil War) to create many of pieces on display.  The pieces in this exhibition, Stalwart, were also chosen by Carter because they help to tell a story or are made from similar materials. The story Carter is trying to tell at the AAMP has two parts. First, some of the pieces have a nautical theme to imply the slave ships African were brought to American on.  The other issue he is trying to being attention to concerns flag burning, so many of the pieces look like flags. 

Carter’s inspirations for these pieces were the burning of Middle Eastern flags that took place after 9/11. I think he wanted to show flags that it would be difficult to burn given the materials he used. Not only did he use Middle Eastern flags for inspiration, but several flags are also based on state flags, including Texas Two Star. (Cute word play on the two-step and Lonestar state).

Belted Crescent + Star is based on the flags of Pakistan, Turkey, and Azerbaijan.  It most directly connects to the Carter’s message.  For the same reasons any of these flags might be burned, people may be opposed to this piece.  On the other hand, some other may find it offensive to show their homeland’s flag or the American flag as a mangled piece of old industrial equipment. 

Teachers could use this exhibit in many ways.  First, they could use this the same way our host, Adrianne, did to explain the issues of flag burning post-9/11. Another activity could have students identify what real flag the artists interpretation most closely represents. A museum educated could then ask what it is flags represent to people. Lastly, students could illustrate their own flag, or visual interpret the meaning of a flag, based on age groups.

Always the Bridesmaid

Title: Brudkrona (Bridal Crown)
Material: Silver, Garnets, Pearls, Turquoise
Creator: Solve Hallquist
Year: 1952

The American Swedish History Museum has one bridal crown on display.  It was worn by the creator's wife, Margaret Hallquist, for the couple's wedding in 1952. Mrs. Hallquist gave her crown to the museum as a gift in 2002. It is on display along side the couple's wedding photo in a silver frame also designed by Solve Hallquist.

Bridal crowns have been work in Swedish weddings since the Middle Ages. They were a symbol of purity and virginity.  Similar bridal crowns were also worn in neighboring countries like Norway. The crowns were often made of precious metals and decorated with jewels, making them very expensive.  Wealthy families could afford to commission a crown, but peasant girls often rented the crown owned by the local church. If was very important that the bride be a virgin and deserving of the honor of wearing the crown, although in some instances if the bride offered a bribe or new gilding of the church crown, the priest would allow a pregnant bride to wear it. Brides that did not wear the crown were ridiculed.

Bridal crowns fell out of favor as other American and European wedding traditions were adopted in Sweden, such as wearing a white wedding dress (another symbol of purity) replaced the traditional black two-piece dress.  Visitors may be interested to learn that there has a been a resurgence of the bridal crown tradition in Swedish American weddings as bride wish to make their wedding unique or include aspects of the family's Swedish heritage in their ceremonies. Today, bridal crowns can still be rented for use on the special day.

Some visitors may be opposed to the crown as sexist, but I think that era has past. Other may think it would be more appropriate for the museum to display an older crown, rather than a modern interpretation from the 20th century, but that would be difficult for the museum to acquire.


I could not find any information about facility rentals at the museum, but given its space and onsite kitchen, it would be easy for the museum to host weddings.  Brides holding the ceremony at the museum could even rent the crown for use, but that may also cause problems for the museum given the value of the object and that fact that it was a gift.  

Death of a Queen

Title: Queen Puabi's Golden Headdress
Material: Gold, Lapis Lazuli, Carnelian
Creator: Likely Palace Goldsmith
Year: 2550 BCE

Queen Puabi's headdress is part of the Penn Museum's collection of objects from ancient Iraq. It is on display as part of the Iraq's Ancient Past exhibition.  It is part of an exhibit element titled "Rediscovering Ur's Royal Cemetery."  It is on display with other pieces from the 1920 and 1930's expeditions to the Middle East including a lyre found in the tomb. The walls around the objects are decorated with enlarged  newspaper prints from the period detailing the archeologist exploits and advertisements for the traveling exhibitions of the artifacts.

The headdress was acquired when the University of Pennsylvania Museum of Archeology and Anthropology co-sponsored a excavation in ancient Ur, now part of modern Iraq in 1922. The expedition was led by C. Leonard Woolley. During the first phase of the dig, one hundred local workers, under Woolley's direction, unearthed a massive burial tomb. Woolley mistaken identified the woman in the burial as Puabi although her name is probably pronounced "Pu-Abum."  He believed she was a queen because of her elaborate gold headdress. She may have been the wife of the king of Ur at the time, but there is no mention of her husband names, so she may have been one of the few female rulers of ancient Mesopotamia. Buried along side Puabi in her tomb were her servants, whom Woolley believed had drunk poison and peacefully died beside their queen in homage.  Woolley's last excavation in Ur took place in 1934, and the artifacts in the Penn museum are so important because no other excavation have taken place since.

The Penn Museum has a program for school groups called "Cemetery Sleuths" in which students identify burial objects from the mock coffin. They use deduction to figure out if the grave belonged to a man or woman and whether the person was rich or poor. Students also identify the objects, the materials they are made from, and the possibly use of each object.  Information on the excavation of Queen Puabi's tomb in included in the Power Point presentation to supplement the hands-on activity.  A program in which students design, fabricate and wear their own headdress is another possible activity the Penn Museum could design around this artifact.

Illumination

Title: Book of Hours
Material: bound manuscript on parchment
Creator: Unknown
Collection: APS collection
Year: possibly 1475

A book of hours was a common devotional prayer book from the Middle Ages. The books contained the list of feast days, excerpts from the Gospels, the Office of the Virgin Mary, psalms, a litany of saints, the Office the Dead, Stations of the Cross, and other prayers used at Catholic Mass. Though the books started out without embellishment, as the Middle Ages wore on wealthy personages were able to purchase books with elaborate illustrations of letters and in the margins of pages.  These illustrations, drawn by monks, were called illuminations.  By the end of the Middle Ages, after inventions of the printing press, books of hours could be mass produced with illuminated patterns made from woodcuts. 

The book is on display in the Tempus Fugit: Times Flies exhibit is a prime example of the Medieval art of illuminated manuscripts.  Although the family that commissioned this work is unknown, the book was donated to the APS by German textile merchant Detmar Basse Muller in May of 1806.  The Chicago based visual artist Antonia Contro included several books in her exhibition, Tempus Fugit, to show how humans interpret and record the passage of time. This book of hours is an example of a lost art and a technique of book making (using vellum or sheep skin sheets).  It is on display in the last case of the exhibit with a contemporary sheet of vellum and a video of pages flapping on a tiny screen.  Until you see this video, the visitor is unaware that the sounds playing in the gallery of pages fluttering corresponds to this video. Other objects on display from the APS collection include a book by Joseph Priestley,  a glass tube used for electrical experiments owned by Benjamin Franklin, a piece of petrified wood, Cromwell Varley's illustrations of comets, a stone dodecahedron, and a ticket to Charles Darwin's funeral.

 

As a history major and Social Studies teacher, I was very familiar with illuminated manuscripts prior to visiting the exhibit. I saw the book of hours on display as a beautiful historic artifact.  It wasn't until I read Antonia Contro's Artist Statement that I realized that she chose the object not only for its aesthetic qualities, but to show how humans record time differently today.  The books shows how time was recorded by human beings not by machines. She says:

 

"Time is at once about mortality and infinity. Illuminated books of hours, breviaries, and prayer books of the middle ages gave structure to devotions, feasts, and holy days.  They offered instructions on when to plant and to reap, when to pray, in penitence, and when to celebrate.  The dispassionate mechanical replacements of modern, secular time-the ticking clock and glowing LED-fall short of providing the comfort of order and purpose to our daily lives, and the assurance of eternal salvation." (I have to agree with her. Today, especially on the East Coast, everything is just so rushed. No one takes time to enjoy events.) 

 

Anyone interested in rare/historic books or Medieval history would be interested in this object. I would be particularly interested in seeing other pages beyond the page spread that is open for display.  Unfortunately, the spread on display is only a facsimile as the original had to be removed for preservation purposes.

 

During our tour of the gallery with Associate Curator of Museum Education Lisa Karena Weidman, she discussed how members of the APS did not appreciate the artist curated exhibit and that it was unlikely that the APS would stage such an exhibition again.  This has less to do with this specific exhibit element than the fact that the artist did not include any labels explaining the exhibition (there is a artist statement available which is quoted above) and that there are no seats in a gallery that is intended as a space of deep contemplation.

 

APS has an "art cart" available for visitors in the gallery which includes print outs of large illuminated letter and coloring instruments. There is also a educator's guide for middle and high school teachers available for the exhibit on the APS website.  The educators guide includes an activity in which students research Jewish, Mayan, Chinese and Muslim calendars and illustrate student planners for every month as a book of hours is illuminated.  I did a project like this in my 6th Grade Social Studies class in which we illustrated a calendar of important events in our lives (this was part of a unit on the Middle Ages in which we got to create our own fiefdom and the calendar was to be followed by the serfs on our land).  Development of a similar book created as a cumulative portfolio would be an excellent culminating activity during a study of the Middle Ages in either high or middle school Social Studies or Language Arts.   

Megaloceros giganteus

Title: Irish Elk Skull and Skeleton
Material: Fossilized Bone
Creator: Donated by John Abell/Displayed by designers of Academy at 200 and Art of Science Gallery Collection: The Art of Science/Academy at 200
Year: Late Pleistocene Era/2012

        The Irish elk skull is on display in the Art of Science Gallery. When the gallery was reinterpreted, the museum staff was unable to move the large and heavy skull. So, rather than move it, the skull was incorporated into the exhibition as an art piece. There are panels with a description of the skull, photographs of Benjamin Waterhouse Hawkins’ life-size sculpture and a painted plaster model by Charles R. Knight along with Shane Stratton’s 2010 charcoal anatomical study. A fully articulated Irish elk skull is also on display as part of The Academy at 200 exhibition. The Academy at 200: The Nature of Discovery exhibition also includes a grooved brain coral, cast of a marine reptile fossil, 400 lb meteorite, specimen jars, mammal skulls, fish bones, fish bones, shark teeth, and a giant clam.
      The Irish elk skeleton was donated to the museum by John Abell in 1853. I was unable to find more information on Abell, but I did find the copy of the donations to the museum from May 3, 1853 which lists the elk skeleton. The skeleton was taken off display and loaned to the Rutgers Geological Museum, but returned to the museum for the bicentennial celebration earlier this year. It was missing some teeth, so sculpted and painted teeth were molded to complete the skeleton.
       A study of the Pleistocene era and similar extinct creatures would enhance the study of the Irish elk skeleton and skull. It would also be beneficial to know that the ancient elk is related to similar species living today, such as reindeer. The popularity of the animated Ice Age films, could also spark childrens’ interest in the fossils. As with the films, the fossil skull and skeleton could be used to educate visitors about climate change and extinction. Museum educators could create a link in visitors minds between the extinct elk and its endangered cousins today.

      An opposing view may be that the Irish elk skull should have been moved to make more gallery space for the Art of Science Gallery. I think, however, that the reason the skull is an important exhibit element in the gallery is because it shows some of the difficulties curators and exhibit planners encounter when trying to reinterpret a space. This is a perfect example of a problem I have seen as other museums and which I believe was handled well.

Rubber Ducky You're The One

Title: “Barduck Obama”

Date: January 13, 2012 “National Rubber Ducky Day”

Material: Rubber, Vinyl-Plastic, Acrylic Paint

Creator: Various Toy Makers/PTM Curatorial Department

Collection: Contemporary Toys

 “Barduck Obama” the Barack Obama duck is in “National Rubber Ducky Day” exhibit in the River Adventure exhibition at the Please Touch Museum.  It is the museum’s most popular exhibit ever.  The exhibit opened for National Rubber Ducky Day on January 13, 2012 and staff gave out rubber ducky souvenirs that day. The Obama duck is only one of five hundred thirty six rubber ducks on display.  The exhibit contains other famous ducks including Mr. T duck Elvis duck. Many of the toy ducks were purchased, but some were donated by two members of the Collectors Society for Rubber Duckies.  Museum staff members also donated some ducks.

Rubber Ducks became popular during the 1970’s when Ernie, a character on the popular kids show Sesame Place, sang about his ducky in the bathtub. The ducks are also a popular collectors’ item around the world and worldwide Rubber Duck derbies are held in the United States, Canada, the United Kingdom, and Australia.

Rubber ducks are hugely popular and interest in the exhibit spans a wide margin.  Children love the duckies as well as collectors and several generations of Americans have seen Ernie sing the "Rubber Ducky" song on Sesame Street. Barduck Obama is of particular interest especially given that 2012 is an election year. 

I could imagine some visitors might not think that every duck in the display is appropriate.  There is a "Swat Duck" and "Dead Duck" that floats upside down. Some others may find it disrepectful to portray the president as a duck.

I disagree and think that the popularlity of the ducks could help experience guides and parents explain the election in a fun and understandable way for small children. I only wish there was a "Mitt Romduck" in the display as well.  The PTM could have a race of the two ducks  through the River Adventure exhibition on Election Day!

 

 

 

 

 

Baby Batu

Title: Batu

Material: Big brown eyes, big hands, big feet, orange fur

Creator: Tua and Sugi

Year: 2009

 

Batu is a three year old Sumatran Orangutan that was born at the Philadelphia Zoo. She is the first baby of orangutans, Tua and Sugi. The Philadelphia Zoo was the first zoo to have an orangutan born in captivity in 1928.

Batu is an important symbol.  She is the centerpiece of the Zoo’s Year of the Orangutans.  There will be themed events throughout 2012 that focus on saving the orangutans of Sumatra and their habitat. This includes the Zoo’s exhibition Train of the Lorax. This program has been structured around the Lorax and Batu to educate visitors about the deforestation of Sumatra by companies harvesting palm oil.  

Batu was not “acquired,” she was born.  The Zoo did acquire Batu’s mother, Tua, from the Atlanta Zoo as a mate for Sugi.  Sugi had a previous mate, but he did not seem interested in her.  When the Philadelphia Zoo acquired Tua, she and Sugi hit it off immediately and Batu was born shortly thereafter.

Batu can be seen in the primate house with her parents.  During our visit, she was outside swinging around a metal rigging while her mother was lying in a hammock. Sugi was inside playing with a blanket. A Zoo staff member, Mary Bailey, pointed out to us that the Zoo does not have reflective glass allowing visitors to interact with the primates.  Sugi could see us through the glass just as well as we could see him. Batu can also be seen on educational panels throughout the Zoo as part of the Trail of the Lorax conservation exhibition. She is featured on the panels asking visitors to sign a leaf of gratitude thanking companies who use sustainable palm oil such as Proctor and Gamble and Pepsi Co. Soon, visitors will be able to see Batu traveling around the Zoo grounds in the Treetop Trail.

Most visitors to the zoo want to see the baby animals and Batu is no exception. Last February, I visited the Zoo for Valentine’s Day. The Zoo had a holiday program for couples that included hot cocoa and a private tour. The tour guide took us around the zoo and showed us all the young animals and explained about different species reproduction.  I don’t specifically remember seeing Batu, but the popularity of this tour (it was outside in the cold and still sold-out) confirmed how popular the young animals are.

Companies guilty of deforestation and using unsustainable palm oil would be opposed to the Trail of the Lorax exhibition and the Zoo’s involvement with the UNLESS Campaign to thank other companies that plan to use nothing but sustainable palm oil by 2015.  This is bad for their business and promotes their competitors.  It is part of the Zoo’s mission to get the visitors to learn at least one thing at the Zoo and follow through with conservation at home. After visitors engage with the exhibit and campaign by signing thank you leaves, visitors will leave the Zoo and remember what companies they could thank and which one they couldn’t. Visitors interested in helping the orangutans will be more likely to purchase products from companies that joined the UNLESS Campaign.

The Trail of the Lorax exhibition is extremely well planned and implemented. Since ours was an adult tour, I would be interested in seeing how guides take students and young children through the Zoo and specifically through the primate house. If Batu and her parents are active, it would give guides a great opportunity to get children engaged in learning about orangutans, palm oil, deforestation, and conversation. Being close to Batu allows them to make a real life connection to a living thing rather than reading about these topics in a book or watching a video about these topics in class. 

For more information about Orangutans, the UNLESS Campaign, or Trail of the Lorax click here.

Little Monsters

 

Title (Year): A Sign on Rosie’s Door (1960), In the Night Kitchen (1970), Outside Over There (1981), Bumble-Ardy (2011)

Material: Paper, Ink, Water Color

Creator: Maurice Sendak

Collection: Maurice Sendak Collection, Permanent Collection of the Rosenbach Museum and Library

As a member of the generation called “millennials” (those born in the late 1980’s and 1990’s), I grew up reading and looking at the pictures in Where the Wild Things Are. Like most people my age, and even my parents’ ages, I was a huge fan.  I saw the Spike Jonze film adaption the weekend it was released in movie theaters. People gave me copies of both the soundtrack and the DVD as gifts.  Until I visited the Rosenbach Museum and Library on October 3^rd, I did not know Maurice Sendak had ever written or illustrated anything else.  Even after watching Sendak on The Colbert Report, I didn’t realize how prolific the man had been.

The books I listed above are only a few examples of Sendak’s work that I had been unfamiliar with before my visit to the Rosenbach. Maurice Sendak has influenced both illustrators and children’s book authors for over fifty years and these works were just as influential to Children’s Literature as Wild Things.  The Rosenbach has been a repository for Sendak’s work since the 1970’s and agreed to have his work exhibited year round although the exhibitions rotated in order to conserve the materials.  A variety of Sendak’s work, from final illustrations, cut and pasted iterations and his only mural (the Chertoff Mural painted for a friend’s children) are currently on display in the Maurice Sendak Gallery in memory of the artist. His work is also on display as part of the exhibition Maurice Sendak and Stephen Colbert Interviews, Objects…and Poles!

Maurice Sendak’s career spanned over sixty-five years, so almost anyone who was read or read a children’s book during that time would be interested in seeing the exhibition. It is particularly appealing for parents to bring their children to see. It is a way for adults to engage with children in a museum that is not designed specifically for children. I would not recommend the exhibition for elementary school groups simply because of the limited space and lack of interest a large group of small children would have in the manuscript, rare books, and antiques that are also part of the Rosenbach collection. That does not mean that Language Arts and Literature teachers could not use the Sendak exhibition as a gateway to entice students in a visit to a museum that would also include seeing the works of Charles Dickens, Lewis Carroll, Bram Stoker, and Daniel Defoe, just to name a few. The inclusion of elements donated by Stephen Colbert would also aid in engaging high school and college students with the objects in the museum as many would be familiar with the comedian and his television show.

As Assistant Program Director, Farrar Fitzgerald, mentioned during our class tour last week, not everyone understands why the Rosenbach would exhibit the Colbert objects (empty beer bottles, pens, a sandwich wrapper and deli receipt), but it is because of the elements ties to Sendak and to pop culture.  The audience that does not “get it” (the Pole exhibition) should not let that deter them from visiting the Rosenbach and experiencing the myriad other works of Sendak, especially if like me, Wild Things and I Am A Pole were the only works they had ever known.

Sittin' by the fire

Title:Fireside Chats Year: “1942” Material: Wood, plastic, glass, metal Creator: NCC Collection: Main Exhibition

In a small alcove of in the outer ring of the National Constitution Center Main Exhibition sits a cathedral radio from the 1940’s.  I’m not sure if the radio is real or just a mock-up.  It sits on a mantle surrounded by black and white photos; possibly of the couple’s marriage and their adult children.  The scene is meant to let visitors experience one of Franklin Delano Roosevelt’s “Fireside Chats,” this one is from February 23, 1942. The “experience room” is situated between the displays of items from FDR's administration (a Social Security card, the President's fedora, a Japanese plane propeller) and those of his second Vice President and successor Harry S. Truman (Truman's Hawaiian shirt). There is a transcript available for visitors to read with text from several of FDR's broadcasts.  There is also a small descriptive panel (on the visitor's left hand side when looking at the mantle) that explains that the visitor is listening to FDR's actual broadcast from February 23, 1942. 

The fireside chat display was constructed by the NCC to allow the core audience of students to experience what it was like to listen to the news via radio (Radio was "king" in the 1940's) rather than getting their information from television or the internet. I believe this was meant to be an immersive experience for the visitor, and although I enjoyed it, I can see why other visitors might be confused or "not get it." For example, if someone were to walk by and look in without stepping close enough, he or she would only see a mock living room from the early twentieth century without hearing Roosevelt's voice. Some visitors to the NCC might walk past without even realizing this is part of the Main Exhibition. (Other visitors might miss it because they are so overwhelmed by the Main Exhibition or simply be more interested in the traditional artifacts on display.)

A visit to the NCC is intended to be a learning experience rather than a leisurely stroll past some artifacts. (This is partial because so many exhibits are interactive and because the NCC only has a small collection of artifacts that it owns.) The fireside chat experience could be more fully developed. At this point, it looks like a replica.  The lighting could be dimmed to make the room look more comfortable and inviting. An artificial electric fireplace could also be added to make the room look more realistic and warm (it should be "fire-side" after all.)  As most Americans listened to Roosevelt in the evening while seated, a chair would also be beneficial for visitors while adding to the experience.  All of these items would help draw visitor attention to this space.  It would be a respite for visitors from the sensory stimulation of the Main Exhibit. Currently, the recording is of only one radio broadcast, however, to improve the visitor experience and interaction visitors could chose what broadcast is played from a list of options.

This exhibit gave me an idea for a lesson that could be used by High School Social Studies and Language Arts teachers studying WWII. First, students could write about or discuss the last news program they watched on television. This would be followed by a close reading of one of FDR's broadcasts (the broadcast that plays in the NCC when students visit).  During a trip to the NCC, the students could sit and listen to the broadcast as if they were in their living room in 1942.  Students would write an essay comparing and contrasting this experience with watching a news program on television that evening.  As a follow-up activity, the next day after discussing the essays as a class, students would then write a script from a news item (provided by the teacher) as if it were being delivered over the radio and present these to the class.

The 140 Year Old Man

The Portrait of Yarrow Mamout (Muhammad Yaro) is an oil painting on canvas by Charles Willson Peale (1741-1827) circa 1819.

I have been to the Philadelphia Museum of Art so many times I cannot recall, but every time I go, I find something new. During our Museum Practicum class trip last week, I heard the story of the Portrait of Yarrow Mamout, a painting by Charles Willson Peale.  The portrait is important because it is one of the first paintings by an American of a man of African descent and of a Muslim.  I spent the classes free time trying to find the portrait before the museum closed.

The portrait had a long journey prior to being acquired by the PMA.  Peale heard of a man who was supposedly over 140 years old and painted Yarrow Mamout while on a trip to Washington, DC.  It hung in Peale’s Philadelphia Museum on the upper floors of Independence Hall.  The painting was moved several times after the artist’s death and sold in 1854.  Unfortunately, in the confusion the painting was mislabeled and sold at auction as Washington’s Servant. The buyer, Charles S. Ogden later donated the portrait to the Historical Society of Pennsylvania in 1892.  In 1947, Peale’s descendent Charles Coleman Sellers correctly identified the painting.  The PMA deaccessioned several works from its own collection of American Art in order to purchase the portrait from the Atwater Kent and prevent it from leaving the city of Philadelphia in October, 2011.

The Portrait of Yarrow Mamout is now on display in Gallery 124 on the first floor of the PMA between a self-portrait of its creator, Charles Willson Peale, and Portrait of Anne Willing Bingham by Gilbert Stuart. I expected it to take center stage in the gallery, but instead it is hung near the corner on the same level as the self-portrait. (In my opinion, the presentation of the portraits in this way shows equality between the two men, artist and subject.)

Students of art, history, and museum studies can learn from the portrait. Peale is an important American artist, father of several significant artists, and founder of America’s first museum.  I had seen works by Peale before, but this was the first of his works I had seen after starting the Museum Education Program at the University of the Arts.  Two weeks prior to the Museum Practicum trip, we discussed Peale in our Museology class. This discussion helped inform my viewing of Yarrow Mamout.  (Students should also discuss whether the portrait would still be as significant if it was still viewed as a painting of George Washington’s slave.)

The Museum Education Department at the PMA developed an educational poster for teachers.  As a former Six Grade Social Studies Teacher in New Jersey, I would want to develop lesson plans for teachers covering colonization and the American Revolutionary periods that would cross curriculums with art (studying Peale’s work), Language Arts (reading the article about the PMA’s acquisition of the work) and possibly even science (making and using old paint) prior to taking my students on a trip to the PMA. 

Information  and photos taken from the Philadelphia Museum of Art website.

http://www.philamuseum.org/press/releases/2011/893.html
Accessed September 23, 2012

http://www.philamuseum.org/acquisitions/
Accessed September 25, 2012

 

 

The Weeping Girl

The Weeping Chorus, 2012, engraved and painted glass, by Judith Schaechter

 

In a small cellblock, # 14 of ESP, there is a small window featuring a small girl in a blue dress with yellow shoes.  She has tears streaming down one side of her face. The window is one of three (there is also a mother and a sister pictured in other windows) in the Weeping Chorus, a stained glass installation by Judith Schaechter on display at the museum for the 2012 season.  The window is made of two layers of glass with paint that has been fired on. The bluish tones from the sun shining through the glass illuminate the room, contributing the eerie, tragic and claustrophobic feeling I experienced in the decaying cell in which the glass is displayed.  The look on the girl’s face expressed not only pain, fear, and sadness on losing her father or brother to the prison system, but also on the difficult life she is now also destined to have.

This a striking image for visitors to ESP, who see the now stabilized high walled ruin as just another haunted house and would not be interested in art installations. Being locked up in Eastern State Penitentiary did not just affect the inmates within its walls, Schaechter’s Weeping Chorus reminds visitors of the fathers, mothers, sisters, brothers, sons, and daughters that suffered when a man or woman was imprisoned there. 

 

ESP will be starting official school tours this season and in my opinion, this window should be included on any tour along with the sculpture Elsie at Five Years Old, by Susan Hagen.  It is important for students visiting the museum to be able to make real life connections.  Teachers may be interested in using the stained glass and sculpture as prompts to engage students in a discussion about how they or how they might feel about living or knowing someone living in a corrections facility.  They may ask students to compare the difference between the girl depicted in the window, whose relative has been sentenced there to “Elsie” who actually lives there because she is the warden’s daughter.

My Grandmother's Piano

My Grandmother’s Piano

I have amassed quite a collection of antiques over the years.  Some were purchases at yard sales and others taken out of the neighbor’s garbage.  Some were bought at expensive antique stores, while some were picked at the Duxbury Massachusetts Transfer Station, also referred to as “The Treasure Chest” (Duxbury is across the bay from Plymouth and sits on the originally land granted to Miles Standish).  Most of my pieces, however, were inherited from grandparents and other relatives.  Each of these items has a higher emotional value than what they are worth on “Antiques Roadshow”.  Just looking around my room there is: a collection of maroon “leather bound” novels, an elaborate vanity my aunt gave me when she moved to Florida (the matching armoire is in the living room because it is too heavy and too tall to carry up the stairs), my grandmother’s bedroom furniture I inherited when she died. The room would be a beautiful if I could ever keep it clean. 

Downstairs, on the other side of the living room, behind an oversized couch is my favorite piece of furniture.  There sits my great grandmother’s John Wanamaker piano. It belonged to my great-grandmother, Joann Woodward (of the Quaker Woodwards of Moorestown).  She married William Rhawn, descendant of the banker of the same name (as in Rhawn Street and the Rhawn mansion, Knowlton, in Philadelphia). My grandmother, Sally, and her siblings took lessons on it as a child.  My own mother and aunts played the piano as children.

 No one in my house knows how to play it.  I still wish I had asked my grandmother for piano lessons. It is currently being used to display picture frames.  Usually, when visitors walk in the house, they ask about the photos and don’t notice a piano.  The woman in running shorts is my grandmother.  She died of cancer.  The piano belonged to her.  The other photos are of my cousins, my cousin’s children, my brother, and I. After my grandmother died and my grandfather moved, he gave the piano to my cousin for her small children. It sat in her dining room. When she moved, she put it out for trash.  I couldn’t let her throw it away; it was like putting part of my childhood out on the curb.  So, my mother and I went and moved it into our house before the trash men came. I paid two-hundred dollars to have it tuned.  Unfortunately, some of the keys still don’t work properly.  The repairmen said it would cost several thousands of dollars to have the innards of the piano replaced so it would work properly.  Someday, when I can afford it, I would like to have the piano restored.  I may never learn to play it, but I want my children to enjoy banging on the keys, as I did as a small child visiting my grandparents’ home.