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Stephen Greenblatt Model

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This paper builds on Stephen Greenblatt’s work in models of art exhibition by examining the presentation, content, and pedagogical success of comparable exhibits of Pre-Columbian Mesoamerican anthropological artifacts in The Museum of Fine Art, Houston, and the Houston Museum of Natural Science. Both institutions have curative extensive collections of Mesoamerican art with artistic and anthropological value, but differ greatly in the presentation of these artifacts. According to Greenblatt, art exhibitions call fall under two distinct categories. The first is a model that emphasizes wonder, the ability of objects to evoke awe in viewers. Ideally, a successful wonder-driven exhibit ought to be captivating enough to stop visitors in their tracks, popular enough to inspire return trips, and punctuated by visitor “ahhs” and “oohs.” The second model for art exhibition is a resonance-focused model, which Greenblatt describes as, “the power of the displayed object to …show more content…
Most museums intend to instill both within their visitors. Aesthetic or emotional appreciation can facilitate increased understanding of object’s context and vice versa. However, a pragmatic curator knows that a good exhibition must have a clear narrative and mission. Successful exhibitions hone in on either wonder or resonance, and adapt the physical space, presentation, and dialectic of exhibits accordingly. Certain modes of presentation lend themselves to the evocation of either residence or wonder. For instance, to isolate an artifact under spotlight, without textual or symbolic explanations, would fail to achieve resonance, but may very well evoke wonder. Through the space, design, didactic materials and display types, exhibitions aim to evoke either resonance or wonder within visitors. Typically, the mission of the exhibition curator is aligned with the mission of the institution in which the exhibition is housed

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