Reposted by Elliott Perkins
What part of the last 250 years makes you think that not even trying is a good idea?
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Crap call, I think
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Woke up still shitfaced in Maine after a wedding with no idea what happened. Called a cab to the airport. Cabbie picked me up and told me about the game. Huge Sox fan. Didn't mention the fight. When I got to Logan I saw the picture above in the Globe at the gate. Holy shit! There was a fight?
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We ought to examine the assumption that Dick Cheyney objects to a threat to our republic. There is as yet no evidence in his deeds of this objection.
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Maybe I've gone to far here, but I do think these things.
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What's more, a lot of art is made for museums and would be dead on arrival anywhere else. A lot of these installations are good barometers of the arrival of significant social change because at some point someone is going to want to use that ladder more than they want to dust that thing again.
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Some art museums have lost the mandate of heaven on that front, become top-heavy with administrators, and know that just a little bit of deciding on the part of their patrons will bring the whole house of cards tumbling down. Thus the emphasis on their own importance in their presentation.
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Dave Hickey observes that your job in an art gallery is to decide, while you job in an art museum is simply to observe.
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In fact, I think art museums, especially high-end art museums, like the Museum of Fine Arts in Boston, have become defensive and, in their new-found wealth, created fascist spaces.
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I am most aggrieved by art museums, which seem to insist on interpreting their collections in daft ways. They may do this because of a societal crisis of meaning which threatens the valuation of their collections, and also because those valuations have increased exponentially in recent decades.
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I recommend that museum, and the Musée des Arts et Métiers in Paris, which has a historical display of reference kilograms and meters, among other historical scientific and industrial objects, such as a very old machine that makes metal files.
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The contrast between that designed, pedantic, didactic space and the incredibly rich and unmediated show of densely-packed cases is so stark. No one curious wants to be pandered to when they could be exploring.
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The Harvard Museum of Natural History is like an old high-school gymnasium grown huge and stuffed with samples of minerals, etc. One can spend a whole day there. The last time I went, a room was given over to this sort of low artifact density educational display full of TVs and buttons.
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I don't need to know about the history of hammers, or how hammers are used, or to have a video running on a loop demonstrating the application of force to metal through history. It seems like these interpretations are taking more and more space from the collections. It's patronizing and boring.
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I love going to museums and getting lost in collections of artifacts. I enjoy reading a bit about them, but the collection is the thing. Haines, Alaska has a hammer museum. It's a museum full of hammers. It's small and great, probably like the Ice Museum was.
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This is something I get really het up about, so I'll stop now before I become a bore.
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Wow. That sounds great. I love a museum of old tools. Personally, I believe there is a loss of understanding of the purpose of museums; they have become about education or entertainment. They are best when they are repositories of the artifacts of culture.
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Oh hold on, what is the Ice History Collection? That sounds awesome
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The woo-woo to wingnut pipeline is real