British Museum blog

Small objects telling big stories


Anna Bright, Interpretation Officer, British Museum

Broadly speaking, museum interpretation is everything we do that helps visitors make sense of our collection. As the person responsible for interpretation on the refurbishment of the Money Gallery, I’m going to explain in this and later posts what my role involves on a project like this.

So what do I do? Alongside Catherine Eagleton, curator of the Money Gallery, I am working to help define the stories that will be told through the objects on display and to develop a structure for these narratives. As part of the core project team I also work with designers to ensure that the design helps communicate these stories and key messages. I will then edit the text that curators write for panels and labels.

To develop narrative structures around objects that successfully communicate with our visitors, we need to understand those visitors. This is a key aspect of interpretation work here at the British Museum – we carry out evaluation that informs and backs up everything we do. We find out things like who our visitors are, how long they spend in a gallery, and the ways they tend to move around the gallery space. All of this information helps us to plan where and how we can best communicate the key messages of our stories to our visitors.

As Catherine Eagleton mentioned in her last post, one of the big challenges we face in the gallery is how to cover 4,000 years of the history of money in one room. We are planning a narrative structure that is at the same time chronological and thematic. Each display case will contain objects that tell stories around a particular theme, typically with a number of case studies within each theme.

One of the very earliest coins, from Lydia (western modern Turkey), about 650-600 BC.

One of the very earliest coins, from Lydia (western modern Turkey), about 650-600 BC.

But that is not all. There will be over 1,000 objects in the room. Our visitors typically spend around three hours on a visit to the Museum, but on average they spend just three minutes in any one gallery. That’s three minutes to look at and read about more than 1,000 objects covering 4,000 years of history. Very challenging indeed!

Clearly it is crucial that we help visitors make sense of the gallery space and this narrative structure. To do this, we are planning a trail of key objects that visitors can follow that will tell them stories covering the key themes.

The idea is that, through the clever use of design, someone coming in to the gallery will immediately be able to spot this trail, and will realise that there are key objects throughout the gallery for them to look at. We call these ‘gateway objects’. This gateway object approach to gallery interpretation is something we have developed here at the Museum over the past few years and which I’ll write about in more detail in another post.

The Money Gallery project is supported by Citi and opens in June 2012.

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  1. Pam Tracz says:

    the columbian museum, in Bogota Columbia which is tied to the Art Gallery of Columbia/ Botero museum and three others has a “money room” which although not as long, does cover the columbian/ spanish history of the nation. You might want to check with them if that’s possible.??…

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Another brilliant photo of the Museum’s Main entrance on Great Russell Street – this time by @violenceor. The perspective gives a good sense of the huge scale of the columns. The Museum has two rows of columns at the main entrance, with each being around 14 metres tall and 1.5 metres wide. Designer Sir Robert Smirke used 44 columns along the front elevation. This design of putting columns in front of an entrance is called a ‘portico’, and was used extensively in ancient Greek and Roman buildings. #regram #repost #architecture #neoclassical #BritishMuseum The Museum looks spectacular with a blue sky overhead – especially in this great shot by @whatrajwants. You can see the beautiful gold flashes shining in the sun. This triangular area above the columns is called a ‘pediment’, and was a common feature in ancient Greek architecture. The copying of classical designs was fashionable during the late 18th and early 19th centuries, and was known as the Greek Revival. The sculptures in the pediment were designed in 1847 by Sir Richard Westmacott and installed in 1851. The pediment originally had a bright blue background, with the statues painted white. #regram #repost #architecture #neoclassical #sculpture #gold #BritishMuseum Concluding our short series of gold objects from the Museum’s collection is this group of items found in the Fishpool hoard. The hoard was buried in Nottinghamshire sometime during the War of the Roses (1455–1485), and contains some outstanding pieces of jewellery. 1,237 objects were found in this hoard in total. At the time it was deposited, its value would have been around £400, which is around £300,000 in today’s money! The variety of this collection of objects includes brilliant examples of fine craftsmanship. The turquoise ring in the centre was highly valued as it was believed that turquoise would protect the wearer from poisoning, drowning or falling off a horse.
#hoard #gold #jewellery #turquoise #treasure Continuing our exploration of the golden objects in the Museum, this amazing inlaid plaque is from 15th-century China. Lined with semi-precious stones, this piece would have formed part of a pair sewn into a robe. We can tell this belonged to an emperor of the Ming dynasty because only he would have been allowed to use items decorated with five-clawed dragons.
#Ming #gold #jewellery #China #BritishMuseum Our next trio of objects shows off some of the shimmering gold in the Museum’s collection. This stunning piece of jewellery comes from Egypt and was made around 600 BC. It was worn across the chest – this type of accessory is known as a ‘pectoral’. Popular throughout ancient Egypt, pectorals have been found from as early as 2600 BC. This example is made from gold and is inlaid with glass, showcasing the incredible level of craftsmanship in Egypt at the time, and asserting the status of the wearer. Falcons were important symbols in ancient Egypt – the god Horus took the form of a falcon.
#AncientEgypt #gold #jewellery #BritishMuseum In 1991, BMW invited South African artist Esther Mahlangu to make a work of art in their Art Car project to mark the end of apartheid. Her work, with its brightly coloured geometric shapes, draws on the traditional house-painting designs of Ndebele people in South Africa. Under apartheid the Ndebele were forced to live in ethnically defined rural reserves – their designs are an expression of cultural identity, and can be read as a form of protest against racial segregation and marginalisation.

See this incredible Art Car as part of our #SouthAfricanArt exhibition, which opens 27 October 2016. You can book your tickets now by following the link in our bio.

Esther Mahlangu (b. 1935), detail of BMW Art Car 12, 1991. © Esther Mahlangu. Photo © BMW Group Archives.
#SouthAfrica #history #art #design
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