The Role of the Display Case

In exhibitions archival material is primarily presented behind the secure glass of display cases. This glass case presents a barrier between the visitor and the objects and thus charges the object with additional meaning. Because the display of the archival object is so closely related to the display case it seems imperative to pay special attention to the vitrine. As will be outlined below, the display case can assume two main functions: mere exhibition furniture or symbolically laden container.

However, it should be first pointed out that Martin Schmidl (2010) observes that exhibition designers often undervalue display cases when it comes to their crucial function in providing interpretation and context.146 _{This is to say that the furniture of an} exhibition – also when housing archival material – should match the context. Introduced as matching, the display case helps to create an organic perception of the whole display, and the archival material does not stand out as something that does not belong within the context of the whole exhibition.

Starting with the display case as part of the exhibition furniture and seen from a practical point of view, Ute Raab (1991) emphasises the case’s role in conveying the impression of units within the exhibition. She further characterises a display case that would optimally support the exhibition and objects as aesthetically appealing and at the same time meeting all the functional conditions such a piece of furniture should

146 _{Schmidl 2010, p. 49. In his text postwar exhibition design, Martin Schmidl discusses the display of}

memorial exhibitions such as at the concentration camp in Dachau. He assesses that the expensive and sleek material often chosen by today’s designers of memorial exhibitions does not match their purpose, thus creating discrepancies. This, however, is not the case to such an extent in the presentation of archival material in art exhibitions, since the objects are not as laden with meaning as in memorial exhibitions.

feature.147 _{These functional features surely include an optimal illumination and} excellent climate conditions for the fragile objects. David Dernie, however, discerns a shift from traditional to more modern display cases. Originally, they were elaborate containers, framing the objects and functioning as mediators between the small-scale objects they accommodate and the exhibition space. Recently, these impressive and slightly old-fashioned cabinets have been replaced by more modern, transparent cases. They may not, as Dernie points out, structure the exhibition space as much anymore as their bulky predecessors but through their transparent nature the object gains importance and stands out more.148

Other positions argue for a symbolic value of the display case. The main point seems to be that the display cases add value and meaning to an object. Sue Breakell argues that by putting an object into a vitrine, it loses its identity and reason for being, because the initial function it was meant for is abrogated.149 _{In other words, an object placed in a} display case ceases to exist in its original sense. Yet it also receives a new identity and meaning through the case it is being put in: the one of a museum object. Curator James Putnam, too, considers the vitrine a container of symbolic importance as can be seen in

Art and Artifact (2001). He locates the origin – and thus part of the display case’s symbolic importance – in medieval churches and the retention of relics. From these roots in the theological context Putnam detects that the object when put in a vitrine, as humble and plain as it might be, is being transformed into something valuable and special. He concludes that “(t)his is a singular ability of the vitrine”.150 _{Putnam detects} the characteristic of the display case as a protective barrier, holding the visitor at a distance and further ascribes it with the function to catch the visitor’s attention.151 _This capacity could lie in the vitrine’s connotation of holding something valuable and the visitor’s attraction to the precious exhibits. However, a possible risk is that archival material in general does not transport the air of preciousness the framing with a display case could convey. Letters, diaries or private photographs are objects that have been used and thus carry traces on them, have maybe been damaged or stained – thus are anything but precious looking. But following Putnam’s argument, every object will, through its inclusion in a display cabinet, be ‘museumized’, an effect that is achieved by creating an artificial distance to the visitor and thus filling it with meaning. If the visitor cannot touch the object then it is precious and important no matter how significant its

actual material value. Furthermore, by placing several objects within one display case, as Putnam elaborates, this juxtaposition creates a narrative, by suggesting a relationship between the objects.152

The display case is a crucial piece of display furniture when it comes to archival material. Even though the objects may not convey the impression of being particularly valuable, the material they are made of – mostly paper – demands for a barrier between the visitor and the object. The vitrine does not only have a functionalistic aspect to it but also a symbolic one that highlights its content’s importance. However, a narrative is not only constructed through the objects inside it; the display case stands in communication with the exhibition space as a whole. It functions as a stage for the objects – the characters – and engages in the dialogue between the character and the visitor – the narrator. By choosing the most suitable framing, the curator can influence the perception of the archival object and its inclusion into the narrative of the exhibition. The visitor’s engagement is, as shown, vital for every exhibition, but in the case of exhibitions including an artist’s archive, the engagement has to happen on various levels and address the audiences’ imagination and emotions. Through the careful placing of the objects and their container, the curator has the ability to stage a new narrative and enter an active exchange between all agents involved.