Northwestern University Libraries’ Preservation and Conservation department was caught up in a seven-month whirlwind of activities in preparation for the Mary & Leigh Block Museum of Art’s current Charlotte Moorman exhibits, “Feast of Astonishments,” curated at the Block Museum, and “Don’t Throw Anything Out,” organized by Special Collections Curator Scott Krafft.
Charles Deering McCormick Library of Special Collections holds Charlotte Moorman’s extensive archive which includes thousands of items: correspondence, posters, films, objects, notebooks, answering machine tapes, photographs, and artifacts from the many avant-garde art pieces that she performed. Currently, 243 of these objects are exhibited at Northwestern’s Block Museum and will travel to New York University’s Grey Art Gallery and Fales Library and then onto Salzburg’s Museum der Moderne.
Some of the most problematic materials for display were a pair of motorized propellers, a doorbell-operated electric bikini, and three masks used by Moorman when performing Nam June Paik’s “Opera Sextronique.” Six violins shattered by Moorman when performing Paik’s “One for Violin” were also tricky. The objects are not considered “art” themselves, but rather props for or evidence of performance art. Because of this status, the exhibit curators did not want traditional looking mounts. Afraid it would take away from the ephemeral nature of the items, the curators preferred that the objects just lay inside of the cases.
However, we were concerned that the handling of these fragile multi-piece materials would be safer and easier if mounted. We needed innocuous exhibit mounts for non-traditional objects that would also keep the items safely in place during travel. In addition, the collection had not been fully processed so the objects would not have appropriate storage housings once back at Northwestern. Creating one plan that would encompass exhibition, travel, and storage needs was a little avant-garde.
After creative brainstorming, multiple mock-ups, and consultation with curators, we had a plan. We sewed the objects onto padded panels and then used the panels to secure the objects inside their boxes. Mounting panels 1” larger than the objects were constructed using Tycore boards, topped with Volara® foam, and covered in cotton cloth.
The objects were sewn on using various colored and transparent threads and some discrete Volara® supports. The storage boxes were stable enough for travel but compact enough to fit on the shelf.
When we unveiled our work to the Block Museum staff, they were suitably impressed by our craftsmanship and inventiveness. And frankly, so were we. For the Charlotte Moorman exhibits, we ventured into a level of exhibit preparation new to us. We gained new skills, enjoyed working closely with each other, and shared in the avant-garde spirit of Charlotte Moorman.