Saturday, May 25, 2013

Boughton House

Last week, my class had the incredible opportunity to go to a country manor built in the 1600s, Boughton House, for a sleepover with the Duke of Buccleuch. WHAT?! Yes. I stayed in one of the oldest country manors (think downton abbey) with the largest land-owning duke in the entire United Kingdom. Pretty big deal. And we got to handle items from the family's collection of silver, their archives, and take a close look at their paintings, ceramics, tapestries, furniture, and the amazing grounds surrounding the place. I am still processing what an incredible opportunity it was, but while I do that, you can take a look at a few pics...

Here is the house from the driveway leading in


the 'stables'


and views from our walk of the grounds 



and here is a small selection of the collection...

(here is the Duke explaining his Pierre Gole cabinet) 


16th century Flemish tapestry behind my bed!


16th century Hungarian flame-stich tapestry upholstery 


ceiling frescoes, tapestries, and Tudor portraits in the Great Hall




Boulle cabinet - once lived in Versailles



Sevres porcelain

and I loved this chair - awesome wing-back with the original silver thread in the upholstery! So rare to have the original upholstery. 


this is the Duke proudly displaying the portrait he recently had restored...spanish school, 17th century. 


To give you a brief idea of our itinerary, we arrived in the morning, had tea and a briefing of what was going to happen and how everything worked, and then got to work on cataloguing objects. We began with porcelain, then stopped for lunch (amazing chicken and fresh veggies from the garden made for us by the cook!) and then did silver in the afternoon.


After this, a tea and cakes break in the amazing kitchen






before heading outside for a walk of the grounds/gardens. There were sheep everywhere and it was a beautiful day! The Duke shared with us his plans for recreating the landscape plans and gardens that his 17th century ancestors had planned. 


how cute are those lambs under the tree?!



What was really cool was the modern art he commissioned for the place...this is "landscape art" you might say...pretty cool effect. 



 We walked down inside - its really a winding path down to the reflecting pool. 


just to give you a sense of how big it is - here is us looking across to the Duke.


and one of his many wonderful dogs :-)





That night, we had a (catered) barbecue on the lawn. The Duke made us Pimms! 


and we ate outside watching the sunset. 







 After dinner, we retired to the kitchen for tea and coffee and talked late into the night. Before we went to our rooms for bed, the Duke took us on a tour of his private accommodations. It was really so wonderful - such an intimate space (like his library etc) and definitely not on view to any of the public. It was really interesting to see how the 17th century house could really be transformed into a livable space. 


The next day, I got up an did a short run around the grounds to see the sheep in the early morning light. Beautiful!


We went around and looked at furniture and paintings for the rest of the day. We also had a session on archives - so interesting! We left post-tea and coffee break that afternoon. Here are a few more images! 

One of the inner courtyards...apparently, to mow this grass, a lawnmower has to be taken through the house. Ha! 


precious dogs!! 


(view out my window)





wonderful, amazing, incredible opportunity. 


Enlightenment Gallery, BM

The Enlightenment Gallery at the British Museum was the subject of our latest paper assignment...to give you a glimpse into what I'm learning as of late, here is a quick snapshot of the place! 



The gallery is meant to recreate an 18th century library...it began as a collection of books and antique sculpture but eventually evolved into what we now know as the British Museum. An homage to those origins, the gallery is appropriately chosen to be "Room 1." 

This assignment forced me to consider practicalities of putting together an exhibition...everything from the placement of labels to lighting was part of my report. Marrying these practical aspects with the theoretical aims of a gallery/exhibition is a difficult task - the two must be complementary, but there are inevitably sacrifices that need to be made on the part of both. 

To give you an example of the kinds of issues I've been thinking/writing about, consider this:

In this gallery, because it is meant to be a recreation of the 18th century room, it is lit by natural light flooding in from the windows. This means that there is very little artificial light (18th century libraries did not have electricity). This presents a bit of a problem though...sunlight fades and destroys many art objects (books/prints/painting...really everything) so objects need to be protected by UV-blocking glass cases. 

These bookshelves below are wonderful (they are original to the 18th century library), but they do not give one the best viewing experience. First of all, light reflects off of them so much that it is hard to even see objects, and second the objects are hidden, shrouded in shadow, and one cannot see anything except those objects at eye level.


See what I mean? 

Other things to consider were the difference between large and small cases...how do cases function to mediate the small scale of some objects while accommodating larger ones? Are the displays/labels able to be seen from a wheelchair? What about the brass bar running across the bottom of each case...does it disrupt the viewing of the object or add to the authenticity of the room because it is part of the 18th-century case? 


How different is the experience of looking into a tall case different then looking down into a small one? 



What about audience? Interactive education? Marketing? Information on the internet and in pamphlets...is it clear or confusing? The touchable Rosetta stone copy is one way the gallery is interactive...the "hands on" desk with volunteer docents is another.



What about the layout...how do the placement of entrances into the gallery facilitate one's route and traffic flow? How does the placement of these sculptural busts compare to how sculpture is placed in other rooms of the BM, like the Mexican gallery next door? 



vs.


very different effect. 

I have been reading books like this all week...


and analyzing charts like this


and it has actually been incredibly enlightening. I really never thought about how intentional every single aspect of a gallery or exhibition is - from the wall text to labels to serial arrangement to paint color to marketing to even the choice of objects - everything has been well-thought out and there is a rhyme and reason to each aspect. And now I have a much better appreciation for exhibitions and a better idea of what to consider while coming up with my own theoretical exhibition (which is my thesis)...which is due in a few short months! 



Catching Up

Hello again! This has been one of the craziest months of my life - between traveling to and from the US twice in the same month (weddings! reunions! and more), working on and finishing a (LONG) curatorial report, a field trip to a country manor (bbq with a duke?!) drinks with friends, getting to must-see exhibitions, scouring libraries, and heading to paris for a week-long field trip, I have literally not stopped. Here are a few pics of what I've been up to lately...

a friend going to Oxford visits London...




 and a pretty sunset makes for a cool picture! 

bank holiday picnic with friends from school in Regent's Park 



and an early morning run in the same park


a quick trip home for my cousin's wonderful wedding


cowboy boots for the reception = best idea ever 



and a chance to see the blooming dogwood trees on pretty lake! how I love home. 


and then my 5-year for culver...so glad I came home for this. 






  


and now, back to regular posts!