If you’ve ever seen Night at the Museum: Battle of the Smithsonian (as I did recently) or stumbled upon the recently popular Tumblr page, What They See, you may have entertained the idea of museum objects as living entities with voices, opinions, and physical vantage points.
If so, you are well situated to appreciate one of the key curatorial principles of The Phillips Collection, explained as follows by founder, Duncan Phillips: ‘I bring together congenial spirits among the artists from different parts of the world and from different periods of time’ (quoted here on Experiment Station). The practice of acquainting diverse artworks with one another to allow new relationships to emerge is a ‘hallmark’ of the museum, Gallery Educator, Ellen Stedtefeld, elaborated in the post.
During a recent visit to the Phillips with fellow museum blogger, Caitlin Kearney (check out her blog, Museum A Week), I was struck by the value of this approach for displaying works with powerful and enduring social relevance—such as permanent collection favorite, The Migration Series (1940-41) by Jacob Lawrence.
Lawrence’s The Migration Series chronicles the large-scale northward migration of southern African Americans between the two world wars; the 60 panel series is divided between The Phillips Collection (which holds the odd-numbered works) and the Museum of Modern Art (which holds the even-numbered works) (see website).
As Dr. Celeste-Marie Bernier (African American Studies scholar) highlighted for me during a related lecture earlier in 2014, The Migration Series acts, in some ways, as historical record and memorial. Through this helpful lens, I see the series as a key artistic contribution towards greater social justice and historical empathy.
This visit was my third time viewing Lawrence’s Migration Series. Over this fourteen-month period of visiting the Phillips, exhibitions and displays have come and gone and The Migration Series has moved upstairs. So I have essentially seen three different iterations of Duncan Phillips’ ‘congenial spirits’ approach to displaying these works; that is, I have seen the series in three different relational and conversational contexts.
When I visited in December 2013, The Migration Series was being displayed ‘in conversation’ with Pakistani Voices, a body of work created through outreach workshops in Pakistan in which artists, students, educators, and museum professionals collaboratively developed artworks inspired by The Migration Series, and in a similar spirit of visual storytelling (see website).
When Lawrence’s panels were allowed to converse and connect with Pakistani Voices, the works took on a kind of universal and intercultural quality. They appeared more as distinct entities and less as a series as they empathized across physical space and culture. They assumed an educative role, with traces of Lawrence’s forthright, bold use of color and shape evident among the Pakistani Voices’ works. The conversations between these two series brought to mind shared human experience.
When I returned to the museum in November 2014, The Migration Series had moved to another floor alongside several exhibits including A Tribute to Anita Reiner, an exhibition honoring and showcasing the efforts of intrepid art collector, Anita Reiner. This time, I saw Lawrence’s works as a more clearly defined set, telling a powerfully cohesive story. Thinking back on The Migration Series in conversation with Ms Reiner’s eclectic, passionate, and open-minded collecting style evokes ideas about ‘the artist’ including the importance of supporting artists and the valuable role of arts supporters such as Ms Reiner. Retroactively reflecting on these possible connections is an interesting and valuable process.
Last week, I was fortunate to see The Migration Series presented alongside a selection from another of Lawrence’s series, a small exhibition titled Struggle…from the History of the American People. The Struggle series is aesthetically distinct from The Migration Series, something that immediately intrigued me and sparked interesting later discussion with Caitlin. Seeing these two distinct sets of works (by the same artist) in conversation with one another highlighted Lawrence’s versatility and intentionality. Consequently, the aesthetic qualities of The Migration Series seemed more deliberate and impactful, with a very authoritative narrative voice.
Have you seen The Migration Series in conversation with a different work or exhibition from the ones that I detail here? How did you experience Jacob Lawrence’s powerful storytelling when brought into conversation with a work or collection from a different artist, time, place, or style?
Have you ever noticed works or objects conversing within a gallery space, either during your visit or upon later reflection? Did these conversations influence your experience and your learning?
Based on my own experiences, I am curious about the role of Duncan Phillips’ curatorial approach for works with strong social relevance. Seeing the way that Jacob Lawrence’s Migration Series interacted with diverse works (including some of his own) provided new ways of seeing and understanding the social importance of the works—i.e. for advancing intercultural understanding, for promoting the artist and the important social role of art, and for better understanding the artist’s aesthetic intentions.
An upcoming exhibition at MoMA, One-Way Ticket: Jacob Lawrence’s Migration Series and Other Visions of the Great Movement North, will reunite all 60 works in the series. After their long separation (and their time spent in the company of other works), I imagine they will have a lot to say to one another—and to their audience.