Professional Documents
Culture Documents
Ron M. Potvin
A home is a work of art that is constantly in process, a creation of the people who live and interact
within and without its walls, and who shape and reshape its appearance and meanings. A home exists in
four dimensions—the three dimensions of the building and its contents, as physical objects, and the
fourth dimension of time, expressed as change, evolution and forward movement. Like an Alexander
Calder mobile, a home is a collection of objects strung together in a seemingly random fashion,
constantly in motion, its meanings variable depending on the actions and perspectives of the occupants
In contrast, historic house museums arrest this process of change by freezing a moment, period,
or person within the past. While a house museum is also a four-dimensional object, its movement
through time is retrograde, focusing on the past. In most house museums, a meaningful conversation
between past and present—home and house—is absent, resulting in their often-noted sterility, as if the
owner had just tidied up for guests and vanished. Anthropologist James Deetz once noted, period rooms
are “utterly devoid of indications that a person came near them,” and “give the impression that all
Americans sprang into existence at the age of twenty-one and were very neat.”1 Most house museums
are encased in the amber of romantic and immutable notions of the past, the sacred nature of their
founding impulses, and rigid professional standards for preservation and collections care and use.
The evolutionary processes inherent to a home have been arrested, and the mobile has ceased its
motion. Visitors have noticed this, and many have stopped coming. To continue to survive—and perhaps
1
James Deetz, “The Link from Object to Person to Concept,” in Museums, Adults and the Humanities: A Guide for
Educational Programming, Zipporah W. Collins, editor (Washington, DC: American Association of Museums, 1981), 31.
once again thrive—house museums must restart the processes of rethinking and adapting, of motion and
Art + History is an attempt to reconsider the dimensions of a house museum by using site-
specific art to "intervene" in the ways that visitors perceive objects, stories, time and memory. According
to the curators, Meg Rotzel and Rosie Branson Gill, the project “explores what happens when new hands
re-mix the contents of a historic home.” Rotzel and Gill commissioned two artists, Jill Slosburg-
Ackerman and Carla Herrera-Prats, to create and install original works of art inspired by the history,
decoration, and collections contained within the Nightingale-Brown House, a National Historic
Landmark built in Providence in 1792. Art + History is more than an art exhibition, declare the curators.
“It is also a laboratory for rethinking historical house interpretation” that “suggests ways to incorporate
new voices and audiences in the creation of narratives about our pasts.”2
Although "home," like time, is an abstraction, house museums must on some level be "real,"
interpretation, Art + History is fraught with questions. What is the role of historical objects and settings
in relation to the artists' intervention? Where is the point of balance between these elements? At what
moment does the intervention cease to exist harmoniously with the context and setting of the house
museum and its period spaces and begin to interact with them antagonistically? When does art plus
history become art versus history? What is the role of the visitor in making connections between the past
and present through the art, weighed against the responsibility of the museum to provide these
2
From the Art + History “Curators’ Statement.”