Adults in Toyland: Engaging the Children's Museum of Memphis

My husband, Jordan, in front of CMOM

I've been excited about visiting and reviewing the Children’s Museum of Memphis (CMOM), primarily because I’ve never intellectually engaged children's museums. That is to say, I've always looked at them as places for children to have fun rather than museums where people of all ages can learn. CMOM is a Memphis treasure held in high regard both locally and regionally. Just today, at a regional museum workshop, I overheard two colleagues discussing how fabulous CMOM is. While I was personally impressed with the museum, I also saw some areas for improvement.

A classroom at CMOM

Anna Billings Gallup, a children’s museum pioneer, said, “To inspire children with this love for and pride in the institution, they must feel that it was created for them, and that in all of its plans, it puts the child first.” [1] As one approaches CMOM, it is obvious that its founders held the same view. Children’s music plays over speakers, a cage of birds greets children before they even enter the museum, and the colorful façade hints at the wonders behind the museum’s door. I brought my husband, as he often expresses his childhood love for the museum. It was really interesting to watch him, as an adult, encounter one of his favorite childhood spaces. One imagines that many Memphians bringing their children to this landmark Memphis museum have similar attachments to familiar exhibits and the museum landscape.

Jordan, a Spanish teacher, points out inclusive language!

We also enjoyed the museum’s newer exhibits, like one on backyard gardening, which invited children to “plant” plastic fruits and vegetables in a fabric “dirt” bed. I especially appreciated how newer exhibits, including a temporary one on dinosaurs, had dual text in Spanish and English. We valued these efforts towards inclusiveness, although the landscape could have been more inclusive to children with physical disabilities. The temporary dinosaur exhibit is rather dark and items strewn across the floor don’t improve accessibility.

Vegetables in the garden - Jordan picks a fruit from the apple tree!

I did enjoy that nearly every exhibit had a hands-on and text component, ensuring that the museum is fun for both toddlers and older children. Toddlers who enjoy playing dress-up in the dinosaur exhibit may grow up to be children who, because of the fun they had as a child, enjoy learning from text accompanying exhibits. For now, their older siblings will certainly enjoy reading and learning about dinosaurs. Although text was concise and simply worded, parents can also be engaged through it, verbally passing information to children and learning something new themselves. Older children also enjoy the grocery store exhibit, where they can “shop” for “groceries” and use cash registers.

Grocery store exhibit, sponsored by Kroger
Visiting children learn about shopping and using money

I also appreciated how the museum incorporated local history and culture. My favorite examples of this were two exhibits, one modeling the Mississippi River and the other centered around a real FedEx plane. Visitors can play in the water of the “Mississippi,” see fish that swim in the river, and learn about the effects of pollution, while physically tracing the river’s path on the periphery of the city. An exhibit like this one teaches children about an important aspect of the city’s landscape and history. Children are also introduced to a crucial piece of Memphis’s economy as they help “load” the FedEx plane with “packages” on a conveyor belt. As someone avidly interested in local and community history and memory, I enjoyed that CMOM thought to include these aspects of Memphis culture.

Model of the famous bridge connecting Memphis and Arkansas

The Mighty Mississippi

At the same time, I did observe some negative issues. Parts of the museum were not as well-monitored as they should have been, sacrificing opportunities for education. We went on a Saturday, likely the busiest day of the week. Many exhibits, like the doctor’s office, were in absolute turmoil. This exhibit included no textual interpretation, while the hands-on educational tools were scattered throughout the area, making it difficult for children to actually learn anything. A more orderly procedure might correct this. The small grocery store replica, adjacent to the doctor’s office, is closely monitored by staff to ensure that the area is kept neat, while, just a few feet away, the doctor’s exhibit is strewn everywhere and poorly developed. The museum is missing a major opportunity here to educate visitors.

Children load packages on a conveyor belt connected to a FedEx airplane

Another missed opportunity is Windows to the World, funded by the Indian Community Fund. I was excited to see how the museum incorporated globalism, but was disappointed to find that the alcove was mostly empty, with only benches, some framed art, and paintings of generic books. I couldn’t help but feel that the museum was missing an important educational element here. Children’s museums should educate, as well as provide a creative outlet for children to run and play. Aside from a few exceptions, CMOM does an admirable job of educating and engaging Memphis children.

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[1] Edward P. and Mary Alexander, Museums in Motion: An Introduction to the History and Functions of Museums (Plymouth, UK: Altamira Press, 2008), 167.

Getting Lost in Art and Garden Paths at the Dixon

Dixon Main Gallery Building

The Dixon Gallery and Gardens is an art museum and botanical garden located in East Memphis, Tennessee. It was established in 1976 by its former residents, Hugo and Margaret Dixon. The private residence is now open as multiple galleries, while a separate building houses galleries, a gift shop, and meeting space. I enjoyed my time touring the art galleries, but I especially enjoyed touring the gardens.

When I arrived at the Dixon Museum, they were between exhibitions, so a large portion of the galleries were closed. I was able to see the Lee Littlefield glass sculpture special exhibition in the museum building and gardens, a permanent pewter collection in the reception hall, and selections from the Kattner Collection of American Paintings in the Dixon Residence. This last collection is on long-term loan to the Dixon while the majority of the Dixon’s permanent collection is being shipped to Louisville.

The first collection I viewed was Lee Littlefield’s glass sculptures, specifically the smaller ones, which were on display in the left wing of the main building. Each was mounted to the wall with a label containing the name and date of the piece. The exhibit is called Big Texas Bayous, which is indicative of the inspiration of the bayou in the shape of the sculptures. Each sculpture is also composed of bright colors which reflect the underwater environment.

Lee Littlefield sculptures in an open area of the grounds behind the Residence

I then saw that the reception hall was open to the public. Noticing large glass cases filled with objects on the walls around the room, I wandered in and found a huge collection of pewter dinnerware, figurines, and serving materials. This was one of my favorite aspects of the museum because it connected part of the museum’s permanent collection to history through material culture. Viewers could look at dinnerware sets, ice cream molds, and other household implements, and imagine how people who used them might have lived. More interpretation to educate visitors about how the pewter utensils were used would be beneficial towards this goal. I did, however, appreciate the labels corresponding to the displays, because each features outlines of the items contained within, arranged in the same order as they are in the cases. Each outline contains a name and/or description of the item, as well as its year of creation. Unfortunately, some of the outlines on the labels do not correspond to the arrangement of the case. Some items have been removed, perhaps for cleaning or repair. Presumably, these items will be returned, which is likely why the labels have not been changed to reflect the accurate current arrangement.

            

From there, I stopped by the gift shop, which is well-maintained, but doesn’t necessarily reflect the overall feel of the museum. While the items there are nice, they don’t explicitly correspond to either the collections or theme of the museum, as I have seen in other art museum gift shops. I then walked across the drop-off lot to the Residence, where I viewed a selection of American paintings. I enjoyed the setup of the galleries in the Residence, especially because rooms like the dining room are still easily recognized. Since the museum was getting ready to close, I did not go into the upstairs of the Residence, so I would be interested to see that area of the museum on a later visit.

The Garden Path from the direction of the Residence

Finally, I walked towards the entrance to the gardens, near the parking lot. A small wooded trail leads visitors to the Memphis Garden Club Cutting Garden, past a tented patio covered with bright blue café tables and chairs. The cutting garden, bordered on the back by the greenhouse building, is well-manicured. This is in stark contrast to the beautifully overgrown, but still well-maintained walking trails to the left of the garden. Trees are marked with metal numbered medallions, while both trees and plants are marked nearby with labels that tell visitors of their species. The wooded trails are winding, allowing visitors to get lost and to forget they are in the city. I had the impression that, by the time I needed to leave, I hadn’t yet seen everything in the trails.

Fountain and Pond in the Memphis Garden Club Cutting Garden

My overall impression of the museum is that it is a great place to quietly pass an afternoon. The art on display is interesting and the gardens are beautiful. The Dixon is an important cultural institution in Memphis and a valuable asset to the city. I would love to see some educational programs and special events there to see how the museum engages the general public.  

Our Visit to The Brooks Museum of Art

My husband, Jordan, in front of the "Peaceful Warriors: Aim for Change" post-it wall

            The Brooks Museum is a fabulous art museum located in historic Overton Park in midtown Memphis, near the famous Memphis Zoo and the quirky Memphis College of Art. We visited on an early Wednesday afternoon and saw two special exhibits, “Art and Scandal: The McCall Purchase” and “Peaceful Warriors: Aim for Change.” These exhibits are powerful and successful because they meld together art and local culture.

            The first exhibit we viewed was “Art and Scandal: The McCall Purchase.” In addition to showcasing exemplary art, this exhibit focuses on some fascinating Memphis history. The McCall Purchase was a group of paintings bought by the city in 1943. The collection was already controversial in the art world because many of the works were considered to be frauds. Complicating matters, many Memphians felt that $25,000 of taxpayer money could be better spent. The parks commissioner, city mayor, and Brooks personnel, however, saw the money as an investment in Memphis’s cultural community.

Many of the paintings were indeed frauds and acknowledged as such by the city and its art advisers at the time, but critics disputed the worth of several of the paintings, supposedly by masters. While the city felt one of these paintings alone was worth $25,000, many art connoisseurs thought it was worth much less and valued the collection at well under $25,000. Now, however, the acquisition is seen as a smart investment for the city. Time eventually proved the value of the pieces and the acquisition garnered much prestige for the museum, elevating it from a regional museum of art to one of the best in the Mid South.

            I especially enjoyed this exhibit because it combined local history, art history, and art exhibition. The installment displayed items from the purchase still in the collection, as well as black and white foam board prints of paintings which had been deaccessioned or never accessioned at all. Prints’ interpretive labels discussed the piece’s history, role in the scandal, and reasons for deaccessioning. A hallway between the two rooms of the exhibit featured a display of enlarged prints of period newspaper articles discussing the purchase, including statements made by the mayor. As a historian, I really loved this aspect of the exhibit.

            We also viewed an exhibit called “Peaceful Warriors: Aim for Change.” Advertised as having been “curated by the Memphis community via Facebook,” it was developed to correspond with a visiting exhibit, “The Art of the Arsenal,” which closed earlier this month. The project asked students from three local high schools to submit photographs and short essays depicting their “peaceful warriors,” people engaged in changing the community through social action. Before the exhibit’s opening, interns and other workers used social media to invite the community to vote for their favorite photographs.[1] The top twenty were displayed in the gallery, along with descriptions of the community action depicted. Other entries not chosen by Facebook fans were displayed in a small slideshow in the gallery.

I loved that the exhibit was almost entirely community-collaborative. A large wall of post-its invited visitors to share their own ideas of peaceful warriors. Unfortunately, most of the post-its left on the wall did not take the charge seriously. Many visitors put answers like “Batman,” “Godzilla,” or outright offensive statements that should not be repeated here. I am normally against censoring, but I feel that the staff could have curated the post-it notes, especially since one of the exhibit themes is involving teenagers in cultural collaboration. Seeing such immature and offensive responses, likely from visiting school groups, after seeing such thoughtful photographs by students cheapened the experience. Labels on the photographs were also difficult to understand. There were two or three names on each label, but nothing showed who the photographer was, who wrote the description, or who submitted the idea. Overall, I loved the idea behind this exhibit, but thought it could have been better curated.

The Brooks is one of my favorite museums in Memphis. I’ve gone to more visiting exhibits here than I can count, including Andy Warhol, Annie Leibovitz, and a selection of Impressionist paintings. The permanent collection is also impressive. I really enjoy the layout of the museum – it is in typical art museum style, featuring multiple galleries where one can get lost looking at art. The museum décor is clean and modern, while the architecture is traditional and ornate. The Brooks is an integral part of the cultural fabric of Memphis, and a must-see for any visitor to or resident of the city.

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[1] See the Facebook page created for the exhibit, “Peaceful Warriors: Aim for Change,” here: http://www.facebook.com/pages/Peaceful-Warriors-Aim-for-Change/151238354979515?sk=wall