Written by Sarah Watkins, Canadian Museum for Human Rights
Reposted with permission from the Canadian Museum for Human Rights blog, the institution’s online presence for stories about the museum and its exhibitions, programs, education programs, and other news. Check it out, and learn more about the exciting work happening at the CMHR. Original post by Sarah Watkins, September 3, 2016.
I have always believed that museums are powerful places. Visiting a well-done exhibit can help us to grow by opening our minds and hearts to ideas that we may never have even considered. For me, the travelling exhibition Sight Unseen: International Photography by Blind Artistsis a perfect example of this.
On display at the Canadian Museum for Human Rights until September 18th, Sight Unseen showcased the photography of acclaimed international artists, all of whom have varying levels of vision loss. I was fortunate enough to work with some of these artists to create a lecture series called Shooting Blind, which explored the idea of taking photos without the use of sight. Now that I can reflect on this experience, I have come to realize that this exhibition and these artists have helped me to discover a new perspective on photography and ability.
What is really interesting about Sight Unseen is that the art seems familiar but foreign at the same time. In today’s world, everyone takes photos – at home with family, out with friends, on our cellphones and tablets and with our digital cameras. The act of taking photographs has become commonplace, and for this reason we can all connect with this exhibition. The artists in this show, however, aren’t just taking photos or documenting a moment in time; they are communicating a message. They think very deeply and consciously about what they are going to photograph.
I used to take thousands of photos with my digital camera in an attempt to capture the exact thing that I was seeing with my eyes. Now, because of this exhibition, I have a different perspective. I take fewer photos, but I think more deeply about each one. I look beyond what is in front of me and consider why I am taking the photo. Am I trying to capture an image of the bridge, or the way that the evening light creates patterns out of shadows that reflect the shape of their source? Is it the fog on the water that is most interesting, or the stillness that it communicates the minute before I jump in the lake for a morning swim?
After visiting Sight Unseen, I see the photographs in a new way. When I look at the photo created by Evgen Bavčar that shows an outstretched hand touching the face of a stone statue, I no longer see just the objects. Rather, I see the careful exploration and discovery of something unknown. I can’t help but think of the artist, exploring the world in ways that I could never imagine, through the sense of touch. Similarly, I used to think of the amazing light paintings created by Pete Eckert as abstract art. His photographs created in a completely dark room with flashlights and other light sources seemed random. Now, the swirling colours and rays of light make me think of energy. Each model is represented differently, the colours and patterns as unique as the person they are highlighting. To me, this sense of energy was something previously imperceptible until Pete showed it to me through his work.
This change in perspective has me questioning what it means to be “able” to do something. If photography isn’t about sight, then maybe dancing isn’t always about what we do with our legs, and speaking isn’t always about sounds coming out of our mouths. This is the lesson that I have learned from Sight Unseen. There is more about us that is the same than different, so no matter what our differences are, we all deserve to have our humanity, dignity and rights respected in the same way.
*Sarah Watkins is a Interpretive Program Developer for the Canadian Museum for Human Rights.
Header Image: Gerardo Nigenda, Entre lo invisible y lo tangible, llegando a la homeostasis emocional (Reaching Emotional Equilibrium Between the Invisible and the Tangible).
“We are in more urgent need of empathy than ever before.”
This quote has been on my mind often over the past days, weeks, months, and sadly, years—as senseless acts of violence and hatred hit the headlines at a numbing pace of regularity. This past Friday was no different, as we all awoke to the horrific news from Dallas, during a week when the country was already reeling from news of the deaths of Alton Sterling and Philando Castile. We’re also seeing an alarming spike in hate crimes and xenophobia in the UK after ‘Brexit’ that correspond in unsettling ways to divisive rhetoric and acrimonious tone of Republican nominee Donald Trump’s presidential campaign. All of this as we are still processing the Pulse nightclub attack in Orlando, where 49 individuals lost their lives.
I think in moments like these, it’s important for museums—and the people who work for them—to pause and reflect on the roles that we serve within our communities. Yes, museums are institutions that hold collections. But they can also serve a powerful role with our communities as active spaces for connection and coming together, for conversation and dialogue, for listening and sharing. Museums can be spaces for individual stories and community voices. They can be a space for acknowledging and reflecting on differences, and for bridging divides. They can be spaces for growth, struggle, love, and hope.
“Empathy is the art of stepping into the shoes of another person and looking at the world from their perspective. It’s about understanding the thoughts, the feelings, the ideas and experiences that make up their view of the world.”
In September 2015, Krznaric put these ideas into practice in the realm of museums with the development of the Empathy Museum, dedicated to helping visitors develop the skill of putting themselves in others’ shoes. Its first exhibit, “A Mile in My Shoes,” did quite literally that, setting up in a shoe shop where visitors are fitted with the shoes of another person, invited to walk a mile along the riverside while being immersed in an audio narrative of this stranger’s life, and then write a short story about it. With contributions ranging from a sewer worker to a sex worker, the stories covered different aspects of life, from loss and grief to hope and love.
Developing empathy has the potential to create radical social change, “a revolution of human relationships,” Krznaric states. So how can we spark this empathy revolution in museums?
Museums Are Us, Not It
I want to start by making an important foundational point about how we talk about museums. When we talk about them only as brick-and-mortar institutions or as ‘it’, it becomes easier to distance ourselves from the human-centered work we do. So it’s absolutely essential to remember that museums are made of people (yes, just like Soylent Green): from directors, board members, patrons, and curators to educators, guest services staff, registrars, conservators, security guards, volunteers, maintenance and facilities workers, members, visitors, etc. I am reminded of this by the Director of Learning at the Tate, Anna Cutler, whose memorable 2013 Tate Paper discussed institutional critique and cultural learning in museums. In it, she quotes artist Andrea Fraser:
“Every time we speak of the ‘institution’ as other than ‘us’ we disavow our role in the creation and perpetuation of its conditions.”
This is an important basis for any discussion of empathy and museums, since it defines the vision, mission, and work of a museum as the vision, mission, and work of the people who belong to that museum. So if we, myself included, say “museums must be more connected to their communities,” we’re really talking about what the people that make up the museum need to focus on – being more connected to our communities. We are inseparable from the institution, in other words. Any critique of museums is a critique of us; and any change needing to happen in museums is, therefore, a change that needs to start with us.
The Growing Role of Empathy in Museum Practice
Krznaric’s work with the Empathy Museum is but one small example of the types of civically-engaged, human-centered practices that have been instituted in an effort to expand the role that museums serve in building empathy and human connection in our communities. Staff working for museums across the globe are launching new efforts to bring people together, facilitate open dialogue, and elevate the voices and stories of marginalized groups to promote greater understanding.
For example, I continue to be amazed and inspired by the Multaqa project developed last year by Berlin’s state museums, which brings in a group of refugees from Iraq and Syria to serve as Arabic-speaking guides. The project title, Multaqa, means “meeting point” in Arabic. The tours are designed to give refugees and newcomers access to the city’s museums and facilitate the interchange of diverse cultural and historical experiences. The tours have been so popular, according to a recent report, that the organizers are looking to expand the program to include “intercultural workshops, which the Berlin public can also participate in.”
Here at the Portland Art Museum, the Object Stories initiative (which began back in 2010) has continued to embrace storytelling and community voices here in Portland. A recent exhibition that opened earlier this year featured powerful stories and personal objects from the local refugee community. The exhibition was co-created with Portland Meet Portland, a local non-profit focused on welcoming immigrants and refugees arriving in our city by creating mutually beneficial mentoring opportunities that promote cross-cultural learning, enhance work skills, and build trust.
The work of Portland Meet Portland and this Object Stories exhibition helped to highlight the important contributions that immigrants and refugees bring to their new homes here in Oregon, and also offered this area’s longer-term residents an opportunity to learn from these newcomers—their stories, resilience, and unique cultures. Visitors to the gallery (probably around 60,000 people) had the opportunity to listen to participants’ stories, leave a welcome message for these storytellers, and learn more about advocacy efforts and local non-profits working with immigrant and refugees in Portland (which ranks 11th among US cities resettling international refugees).
The Canadian Museum for Human Rights, an inspiring institution in so many ways, currently houses six different exhibits that explore the tragic story and legacy of the Indian Residential School system, one of Canada’s most pressing human rights concerns. As a national museum and hub of human rights education, the Museum has an important role to play in efforts towards reconciliation between Indigenous and non-Indigenous people in Canada. As is stated in the 2015 summary report of Canada’s Truth and Reconciliation Commission (TRC): “Through their exhibits, education outreach, and research programs, all museums are well positioned to contribute to education for reconciliation.” The team at the Canadian Museum of Human Rights is also working to keep the conversation alive and involve the voices of its communities, especially through its “Share Your Story” project that allows anyone to record their own story about human rights or listen to the individual experiences of others.
In their book Cities, Museums, and Soft Power, Gail Dexter Lord and Ngaire Blankenship discuss the human social behaviors of bridging and bonding that museums have the distinct potential to promote and amplify, especially through public programs, education, and exhibitions. Their final essay offers a comprehensive set of strategies for how museums can be of greater value to their cities and communities:
“Museums and cities have a strong role to play together in bridging and bonding. They bring people together at similar life stages … or with identity in common … where they can share their experiences. Museums also bridge among identities, offering a public place to bring different groups together around similar interests.” (p. 222)
The International Museum of Folk Art’s Gallery of Conscience, inaugurated in 2010, serves as truly unique and visionary example of how museums are experimenting in this area. The Gallery’s goal is to be an agent of positive social change by engaging history, dialogue, and personal reflection around issues of social justice and human rights. Since the gallery’s inception, exhibitions in this space have explored how traditional artists come together in the face of change or disaster to provide comfort, counsel, prayer, and hope through their art. This focus has earned the space membership in the International Coalition of the Sites of Conscience.
Exhibitions in the Gallery of Conscience are “community-driven, co-created, collaborative, participatory, and cumulative,” according to a press release. “Visitors and community members become part of the conversation from the very beginning—helping to shape the exhibitions and contribute to the dialogue throughout the exhibition’s run.” In 2013-14, the Gallery’s exhibition “Let’s Talk About This” focused on folk artists’ responses to HIV/AIDS through artist and visitor participation, community programs, and a digital storytelling project with LGBTQ youth developed in partnership with N’MPower and Youth Media Project. The oral histories that were collected were incorporated into the exhibition through listening stations, and also became part of the dialogue-based programs related to the exhibition.
Building a Broader Culture of Advocacy
The type of museum practice I’ve highlighted is certainly not new. Many of us read about this work in museum blogs (such as Incluseum, Thinking About Museums, Visitors of Color, Queering the Museum, Brown Girls Museum Blog, etc.) and emails from the Center for the Future of Museums or Museum Hack. Many of us work on programs like these ourselves. But what concerns me is that across much of this practice, I find a lack of a broader institutional culture of support. Too many community-based projects like the ones I mention above end up being relegated to education staff, isolated from the core mission of an institution, or left entirely invisible. And this lack of supports extends beyond the walls of the museum. When journalists, scholars, and critics write about museums and exhibitions, they frequently ignore or denigrate the spaces that invite visitor engagement and community participation. There are even individuals in my own field of museum education who refer to empathy-building practices and affective learning strategies as too “touchy feely.”
We museum people need to work together to build a stronger, collective culture of support and advocacy for museum practice based in empathy, inclusion, and social impact. This is some of the most meaningful, relevant work happening in museums right now. People across our institutions—not just educators but directors, curators, marketing staff, board members, donors, etc.—need to be publicly and visibly proud of the programs, exhibitions, and projects that actively embrace individual stories, dialogue about provocative questions, and the diverse and rich lived experiences of those living in our communities. More comprehensive support for this work can lead to an expanded focus on social impact and community engagement in a museum’s strategic goals and mission, in its exhibition and program planning process, and in its allocation of resources.
So let’s all be more proud of the work we’re doing in museums to bring people together and learn more about ourselves and each other — from tiny one-off gatherings and events to much larger sustained initiatives.
Time for an Empathy Revolution in Museums
How do we start an empathy revolution in museums? How do we more fiercely recognize and support the meaningful work that museum professionals are already leading to support open dialogues around the challenging, relevant issues of our time? And how do we radically expand this work to build a stronger culture of empathy within museums — one that measures future success through our capacity to bring people together, foster conversations, and contribute to strong and resilient communities?
In 2013, the Museums Association of the UK launched its Museums Change Lives campaign, establishing a set of principles based on research, conferences sessions, online forums, open public workshops, and discussions with charities and social enterprises. I think the core principles they developed from their vision for the social impact of museums (a must read!) are worth sharing to move this discussion forward and enact change:
Every museums is different, but all can find ways of maximizing their social impact.
Everyone has the right to meaningful participation in the life and work of museums.
Audiences are creators as well as consumers of knowledge; their insights and expertise enrich and transform the museum experience for others.
Active public participation changes museums for the better.
Museums foster questioning, debate, and critical thinking.
Good museums offer excellent experiences that meet public needs.
Effective museums engage with contemporary issues.
Social justice is at the heart of the impact of museums.
Museums are not neutral spaces.
Museums are rooted in places and contribute to local distinctiveness.
These principles, as with much of their vision, are inspiring — but too often we stop there, feeling inspired but lacking action. The Museums Association report continues, “It’s time for your museum to respond to hard times by making a bigger difference. It’s time for you to play your part in helping museums change people’s lives.” The report concludes with a pretty spot-on set of 10 actions that will help your museum improve its social impact. Here is a slightly abbreviated, edited list:
Make a clear commitment to improve your museum’s social impact (ie. having strategic goals).
Reflect on your current impacts; listen to users and non-users; research local needs.
Research what other museums are doing.
Seek out and connect with suitable partners.
Work with your partners as equals.
Innovate and be willing to take risks.
Reflect on and celebrate your work. Learn from and with partners and participants.
Find ways for partners and participants to have a deep impact on your museum. Bring more voices into interpretation and devolve power.
Strive for long-term sustained change based on lasting relationships with partners and long-term engagement with participants.
Print these out, put them on your office wall, bring them to staff meetings, share these with your visitors and audiences, and have some open conversations about the “so what” of museums. Take these principles and action steps seriously. Build a broader team to advocate for the work you’re already doing at your institution; rethink existing programs; and bravely propose new projects and partnerships that better serve your community. See how a human-centered focus on empathy and social impact might change your own practice, your museum, and your community.
“The best museums are now striving to realise their full potential for society and are far more than just buildings and collections. They have two-way relationships with communities…. They are becoming increasingly outward looking, building more relationships with partners. They are welcoming more people as active participants.” (Museums Change Lives)
Let’s be a part of making this happen!
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About the Author
MIKE MURAWSKI: Founding editor of ArtMuseumTeaching.com and currently Director of Education & Public Programs at the Portland Art Museum. Mike earned his MA and PhD in Education from American University in Washington, DC, focusing his research on educational theory and interdisciplinary learning in the arts. Prior to his position at the Portland Art Museum, he served as Director of School Services at the Saint Louis Art Museum as well as head of education and public programs at the Mildred Lane Kemper Art Museum at Washington University. He currently also serves as the Pacific Region Director for the Museum Division of the National Art Education Association. Mike has given lectures and led workshops at institutions across the United States, including the Los Angeles County Museum of Art, National Gallery of Art, Nelson Atkins Museum of Art, and Phoenix Art Museum, among many others. He is passionate about how we can come to see museums as creative sites for transformative learning and how we can take full advantage of the powerful types of learning, public participation, and community engagement that museums can offer. Mike’s postings on this site are his own and don’t represent the Portland Art Museum’s positions, strategies, or opinions.