Controlled Imagery and the "[remastered]"

“[remastered],” a new installation of the Worcester Art Museum’s Old Master paintings, developed largely by Matthias Waschek, director of the museum since 2011, is one of many changes that the museum has undergone and one that stands as the museum’s most unique and publicly affected. The paintings, which are now hung in “medallion style” groupings, common in 17^th and 18^th century stately homes, encourages the audience to “linger” in the galleries and look for the “commonalities among the paintings in each assemblage.” And unlike traditional installations, “[remastered]” offers no labels with the exception of the artist, title and date on cards in the galleries.

Giulio Cesare Procaccini’s “The Betrayal of Christ,” for example, is the central piece to a six-painting group including paintings by Caravaggio, El Greco, Bartolome Esteban Murillo, Jusepe de Ribera and Jan Lievens. This grouping, Mr. Waschek states, is brought together by the “fixed looks on the people in the paintings and the exchange of glances he set up among them. ‘It’s all about the gaze.’”

The very placement of a painting or sculpture and its relationship with other works  as established by groupings as in the case of “[remastered],” according to Monroe Price in “Controlling Imagery,” “superimposes upon it meanings and relationships that exist because of context…a transformation of meaning that takes place each time a painting is reinstalled.” It is no surprise then that each arrangement and variation in groupings creates new meaning, questions and essentially, an imposed meaning through suggestions made by its creator. Waschek, therefore, has in this context, taken full control of the contextual meaning and interpretation of the works on display and as such, has essentially taken freedom of interpretation, connection and individual engagement from the audience and the work of art.

Despite what is without question, a controlled environment, “[remastered]” presents a new way of looking to the 19^th century models of the Louvre and Smithsonian, continuing to adjust and make changes in response to the public’s reaction. While taking control of the presentation and interpretation of a collection grouping can be problematic, Warschek acknowledges this and openly shares of his interest in developing, experimenting and ultimately, creating an installation of works that best represent the museum while serving the public and their interest.

And as a smaller museum freed from the constraints of the old doctrine of what a museum is, Waschek and the Worcester Art Museum are able to experiment and as such, have a promising future in reaching and engaging a wider and greater audience with its collection. And with a nearly 70% increase in attendees in two years, there is no doubt that Waschek is on the right track!

For more info….

Dobrzynski, Judith H. “Museum, Remodeled.” The Wall Street Journal Online. 13 Nov 2013. http://online.wsj.com/news/articles/SB10001424052702303618904579171940939838998

Price, Monroe. “Controlling Imagery: The Fight over Using Art to Change Society.” American Art. Smithsonian Institution: 1993.