BGuthrie Photos: DC -- Natl Museum of American History -- Exhibit: Making a Modern Museum

DC -- Natl Museum of American History -- Exhibit: Making a Modern Museum:

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Description of Pictures: Making a Modern Museum: Celebrating the Fiftieth Anniversary of the National Museum of American History
May 16, 2014 – January 4, 2015
Learn about the origins of the National Museum of American History (originally the Museum of History and Technology) and consider what those origins mean for the museum today and into the future. To mark its 50th anniversary, look back to the museum's origins circa 1964 and retrace the last fifty years to see how it evolved and transformed into today's National Museum of American History.

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Copyrights: All pictures were taken by amateur photographer Bruce Guthrie (me!) who retains copyright on them. Free for non-commercial use with attribution. See the [Creative Commons] definition of what this means. "Photos (c) Bruce Guthrie" is fine for attribution. (Commercial use folks including AI scrapers can of course contact me.) Feel free to use in publications and pages with attribution but you don't have permission to sell the photos themselves. A free copy of any printed publication using any photographs is requested. Descriptive text, if any, is from a mixture of sources, quite frequently from signs at the location or from official web sites; copyrights, if any, are retained by their original owners.

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Specific picture descriptions: Photos above with "i" icons next to the bracketed sequence numbers (e.g. "[1] ") are described as follows:
1. MODERN_140706_004.JPG: Making a Modern Museum Celebrating the 50th Anniversary of the National Museum of American History
2. MODERN_140706_008.JPG: Architect's model, Museum of History and Technology (renamed National Museum of American History in 1980), late 1950s. While the building's interior has undergone extensive renovation, its exterior remains virtually unchanged.
3. MODERN_140706_023.JPG: "The Nation's capital needs a Museum of History and Technology." -- Smithsonian Institution proposal, mid 1950s
4. MODERN_140706_042.JPG: Installing Jose de Rivera's Infinity sculpture, Museum of History and Technology, 1967
5. MODERN_140706_049.JPG: This building opened to much fanfare 50 years ago as the Smithsonian's Museum of History and Technology (MHT). The Washington Evening Star praised the new museum as a "Palace of Progress." At the opening ceremony on January 22, 1964, President Lyndon Johnson charged "every doubter who hesitates before the onrush of tomorrow" to "spend some time in this great Museum." Emerging from the enthusiasm of the 20th-Century Modern Movement and affirming a deep faith in technology as the basis for societal progress, the Museum was the first modern building on the National Mall. The "Big Marble Shrine," as it was labeled, became the premier venue for bringing "the history and technology of a Nation" to the American people. The Museum's name was changed in 1980 to the National Museum of American History (NMAH), but its founding ideals -- modernism, optimism, and reflection -- continue to resonate in the 21st century.
6. MODERN_140706_053.JPG: 1964 World's Fair
7. MODERN_140706_058.JPG: 1964 New York World's Fair Though the New York World's Fair of 1964 focused on the future and MHT looked to history, they shared a common theme of technological progress, played against the backdrop of the Cold War. A highlight of the New York fair was Futurama in the General Motors pavilion. Fairgoers experienced the possibilities of a technological future where lunar rovers explored the moon and "Aquacopters" and atomic submarines surveyed the ocean depths. Futurama and other state-of-the-art display techniques developed for the fair challenged MHT's new staff of designers to create equally exciting historical displays. Addressing the immediate future, the U.S. and Soviet pavilions at the fair confronted the realities of the Cold War with competing visions of social and technical progress. Similarly, MHT's founders argued that allocating Congressional funds to a national museum would counter Russian claims of priority in inventing most of modern civilization's major technologies with exhibitions illustrating otherwise.
8. MODERN_140706_061.JPG: See the Future First General Motors Futurama New York World's Fair
9. MODERN_140706_064.JPG: "... the Russians announced plans to convert the entire Kremlin into a great national museum. ...dare we fail to demonstrate to visitors in our capital the progress that has made our free Nation great?" - -- Leonard Carmichael, Smithsonian Secretary, 1955
10. MODERN_140706_066.JPG: Poster for 1964 New York World's Fair
11. MODERN_140706_071.JPG: World's fairs, which originally arose to celebrate the Industrial Revolution, were a continuing force in the development of MHT. While the 1876 Philadelphia Centennial provided the foundation for the Museum's technological collections, the New York World's Fair of 1964 reinforced its themes of technological progress and inspired its forward-looking exhibition style. MHT's creators envisioned it as a sort of permanent world's fair. The Museum and the Fair also displayed a similar nationalist spirit.
12. MODERN_140706_078.JPG: Arts and Industries Building Beginnings MHT's roots were in the Smithsonian's Arts and Industries Building (A&I), which opened in 1881 to display objects from The United States Centennial Exhibition that took place in Philadelphia in 1876. Touted as "the most stupendous and successful competitive exhibition the world ever saw," the Centennial heralded America's arrival as an industrial power. In addition, as the "National Museum," A&I housed other treasures such as the Star-Spangled Banner, George Washington's uniform, and Mary Lincoln's dress. Collections soon outgrew the Victorian building, and it felt cramped, dusty, and antiquated by the 1920s. Administrators and curators alike were desperate to escape this old building, dubbed the "Nation's Attic."
13. MODERN_140706_081.JPG: Forerunner: Engineering and Industry Museum
14. MODERN_140706_086.JPG: Architect's drawing of the proposed new Museum of Engineering and Industry, 1932.
15. MODERN_140706_092.JPG: The 1920s were a time of revolutionary technological change. Airplanes, automobiles, radio, and telephones -- all these and more were transforming everyday life. People felt pulled into a modern world, heading for the future at breakneck speed. Carl Mitman, visionary technology curator in the Smithsonian's Anthropology department, saw the importance of documenting these changes, and complained bitterly about lacking the resources needed to update his displays. For years he had dreamed of shaking off the dust of the Arts and Industries Building and establishing a dedicated technology museum. Appealing to national pride, Mitman campaigned to bring the Smithsonian into the new age of progress. He proposed a "Museum of Engineering and Industry" that would rival the great industrial museums of Europe. Though a number of science museums were successfully launched in America in this period Mitman's project failed for lack of money, but was revived after World War II.
16. MODERN_140706_093.JPG: ... England has her South Kensington Museum; France her Conservatoire des Arts et M�tiers; and Germany her Deutsches Museum, but nowhere in this nation of ours, the most advanced in the application of the engineering and mechanical arts, is there a similar institution." -- Carl W. Mitman, curator, 1920
17. MODERN_140706_096.JPG: Designing a Modern Museum
18. MODERN_140706_100.JPG: Reproduction of rendering of MHT by architect Hugh Ferriss, the era's foremost delineator of buildings.
19. MODERN_140706_104.JPG: MHT's architects envisioned a modern building for a modern museum. It would be the concrete embodiment of its ideals. Yet MHT also had to harmonize with nearby neoclassical structures. Chief architect James Kellum Smith compared MHT to the Acropolis and ancient Rome. When he died in 1961, Walker O. Cain took over and affirmed Smith's direction, agreeing that the Mall "is a classical environment if there ever was one." Cain said he designed "a building which is classical in definition, and the detailing is modern." The alternating pattern of the building's walls, for example, was meant to suggest Greek columns. Avant-garde touches included Jose de Rivera's "Infinity," one of the first abstract sculptures at a major public building in Washington. To Cain, "Infinity" evoked an orrery -- a mechanical model of the solar system. His interest in science and technology is also reflected in one of the icons of the Museum -- the Foucault pendulum was Cain's idea.
20. MODERN_140706_108.JPG: "Those narrow slats almost recall the colonnade down in the Lincoln [memorial] or the one across the street or the one here on the Natural History [museum]." -- - Walker O. Cain, MHT architect, 1988
21. MODERN_140706_110.JPG: Frank Taylor, First Director
22. MODERN_140706_114.JPG: "Ours is unlike any other [museum] for under one roof it combines the history and technology of a Nation. In a country such as ours we think these are inseparable because of the tremendous influence science has had on our way of life and development." -- Frank A. Taylor, MHT Founding Director, 1962
23. MODERN_140706_122.JPG: Frank Taylor monitors construction on the building's fifth floor terrace
24. MODERN_140706_125.JPG: Frank Taylor, MHT's founding director, had his hand in every aspect of the building's creation. He came to the Smithsonian in 1922 as an apprentice in Carl Mitman's Mechanical Technology department. After World War II, with backing from Smithsonian Secretary Leonard Carmichael, Taylor revived Mitman's dream of a new museum. Taylor and Carmichael's initial idea was to establish a museum of engineering and industry. To expand support for their plans, they later included a history department to appeal to the political history curators at A&I. Invoking world's fairs, Taylor promoted MHT as a "permanent exposition that commemorates our heritage of freedom and highlights the basic elements of our way of life." At the height of the Cold War, his patriotic language helped sell MHT to Congressional funders.
25. MODERN_140706_129.JPG: Dedication of the Museum of History and Technology of the Smithsonian Institution January 22, 1964
26. MODERN_140706_133.JPG: Congressional Legislation: Signed by President Dwight D. Eisenhower, Vice President Richard Nixon, and Speaker of the House of Representatives Sam Rayburn. On June 13, 1956, Eisenhower signed Public Law 573, appropriating $33.7 million for the Museum.
27. MODERN_140706_148.JPG: Congressional Legislation: Public Law 96-441 October 13, 1980 changing the Museum's name to the National Museum of American History, signed by President Jimmy Carter, Senator Robert Byrd, and Speaker of the House, Thomas P. "Tip" O'Neill.
28. MODERN_140706_156.JPG: Ceremonial Trowel: Used by Smithsonian Regent John Nicholas Brown during the building's cornerstone ceremony.
29. MODERN_140706_162.JPG: Brochure: Explaining how the Foucault Pendulum shows the rotation of the Earth. Tens of thousands of these brochures were given to visiting school groups.
30. MODERN_140706_172.JPG: Pendulum Bob: 240 pounds, made by the California Academy of Sciences in 1963.
31. MODERN_140706_182.JPG: Pendulum "marker": One of a series of wooden markers that the pendulum would knock over during the day (showing its apparent rotation).
32. MODERN_140706_188.JPG: Architecture Reviews
33. MODERN_140706_191.JPG: "An awkward attempt to marry the classical and the modern, the building is legitimately neither… [but] In terms of its contents, a completely fascinating m�lange…an absorbing adventure." -- Ada Louise Huxtable, The New York Times architecture critic, January 23, 1964
34. MODERN_140706_194.JPG: MHT opened to mixed reviews. Its popularity with the public was unquestioned. The Museum welcomed 5.4 million visitors in its first year, reportedly breaking the record for any museum anywhere. "Museum is a Shrine to Rise of U.S. as Nation: Original Star-Spangled Banner Waves Again" and "Americana at its Best" were typical headlines. Highlighted as "a certain crowd puller" were period rooms taking visitors back in time. While the press heaped praise on the exhibitions, architectural critics were not as kind. Walker Cain's attempt to blend classical and modern seemed baffling and even annoying. The New York Times critic Ada Louise Huxtable, for example, judged MHT's design a "disaster." Huxtable and like-minded critics would likely have preferred an all-out modernist architect like the late Eero Saarinen. In fact, Saarinen had been proposed as MHT's architect by the General Services Administration, overseer of government building projects. But Smithsonian officials rejected him for his "utter disregard for orthodoxy."
35. MODERN_140706_198.JPG: Period rooms: Numismatics Hall, Stohlman's confectionery shop, and a 19th century American machine shop.
36. MODERN_140706_201.JPG: Growth of the United States (1967) Exhibition was an early attempt at MHT to tell an over-arching story of America, 1640-1945. It aimed to place major technological artifacts in the context of national history. Only two of five modules of the short-lived display were ever completed.
37. MODERN_140706_206.JPG: Revolutionary War exhibition study, Hudson River Chain in foreground
38. MODERN_140706_211.JPG: Power hall: The display of heavy machinery in MHT was typical of early exhibitions that focused on technology and industrial processes with little if any social context.
39. MODERN_140706_214.JPG: Engines of Change: American Industrial Revolution, 1790-1860 An early attempt to blend technology and national history.
40. MODERN_140706_223.JPG: "The entrance hall is dominated by the 44-foot original Star-Spangled Banner and the Foucault pendulum, which disappears in a hole in the floor in front of it. These items are fitting symbols of history and technology." -- Wolf von Eckardt, The Washington Post, Jan. 26, 1964
41. MODERN_140706_233.JPG: "Our museums... should be concerned with this theme of presenting truth in a social context." -- S. Dillon Ripley, Smithsonian Secretary, 1968 MHT didn't just look modern. It intended to think modern. Early on, the new museum experimented with going beyond traditional display techniques and themes to set artifacts in the context of their times and explain the significance of the stories they embodied. Smithsonian Secretary S. Dillon Ripley led the way, calling for exhibitions based on the latest scholarship. MHT Director Robert Multhauf added curators with Ph.D.s who specialized in the fields of the history of science and technology. Malcolm Watkins and Anthony Garvan, two anthropologists at MHT, added important social and cultural dimensions to their exhibitions. Watkins created Everyday Life in the American Past in 1964, while Garvan developed themes for a partially-realized exhibition on American culture, Growth of the United States (1967). Daniel Boorstin, MHT's fourth Director, put technology at the center of the American experience and launched the Bicentennial blockbuster exhibit on American pluralism, A Nation of Nations.
42. MODERN_140706_241.JPG: Opening day exhibition halls as shown on floor plans of first, second, and third floors.
43. MODERN_140706_247.JPG: Early Exhibitions
44. MODERN_140706_251.JPG: Modernized Gowns of the First Planes exhibition
45. MODERN_140706_255.JPG: "Our job is showmanship…It's theater. We bring the people in, take them up to the trough, and count on the curators -- the historians and scientists -- to give them something to drink." -- Benjamin W. Lawless, MHT exhibition designer, about 1977
46. MODERN_140706_257.JPG: MHT's ground-breaking exterior demanded equally-innovative exhibitions inside. Benjamin Lawless, who came to the Smithsonian in 1954, brought state-of-the-art technique and a dash of showmanship to the Institution's exhibitions. Inspired by the pioneering designs of Charles and Ray Eames, especially the Eames/Saarinen IBM pavilion at the 1964 World's Fair, Lawless "staged" his exhibitions -- they had storylines, scripts, theatrical flair, and playfulness. Colorful silk-screened images and labels, audio, film, video, and even tastes and smells, brought them to life. Shown here is an example of Lawless's early work with curator Margaret Brown to modernize Gowns of the First Ladies. His playful storyboards for one of the Museum's exhibit films are displayed in the adjacent case.
47. MODERN_140706_263.JPG: A Nation of Nations (1976) MHT's bicentennial hit, celebrated the American "melting pot."
48. MODERN_140706_265.JPG: Yesterday's Tomorrows (1984) Storyboards by Benjamin Lawless for a film in conjunction with the exhibition "Yesterday's Tomorrows."
49. MODERN_140706_274.JPG: Between a Rock and a Hard Place (1998) Design rendering. Putting contemporary debates over sweatshops in historical context, Between a Rock and a Hard Place triggered a political dispute even before its opening. When industry groups tried to have the show canceled, members of Congress came to the Museum's rescue.
50. MODERN_140706_288.JPG: FDR, The Intimate Presidency (1982) Exhibition and catalog, celebrating President Franklin D. Roosevelt's 100th birthday, placed communications technology in political-cultural context.
51. MODERN_140706_295.JPG: Changing the Museum's Name
52. MODERN_140706_299.JPG: "Technology…will continue to be of major interest to the Museum, but the Museum's name will no longer suggest that we are involved in a study of technology for its own sake or regard technology and history as separable." --Roger G. Kennedy, NMAH Director, 1980
53. MODERN_140706_301.JPG: Temporary banner proclaimed the institution's new name
54. MODERN_140706_305.JPG: On October 13, 1980, President Jimmy Carter signed legislation changing the name of the Museum of History and Technology (MHT) to the National Museum of American History (NMAH). The name change embodied a vision for the museum that coalesced its technical side with its history of the American experience. Director Roger Kennedy, who initiated the change, declared that the Museum would no longer be home to the "Hall of Iron and Steel" or the "Hall of Transportation." Technology would instead be embedded in history, as suggested by exhibitions with titles like "Engines of Change," "Information Age," or "Science in American Life." Though not all of the Museum's curators supported the name change, the new focus opened exploration into the complicated dynamics among science, technology, and society. Founding ideologies of technological progress fell out of favor. New exhibition perspectives sometimes encountered public controversy, reflecting larger tensions in American society.
55. MODERN_140706_315.JPG: "Fifty years ago, the founders of this museum focused on modernity and how to present the forces of science and technology alongside those of politics, culture, and social history. "Today, we continue to grapple with the increasing pace of innovation and technological change as we strive to tell the richest and most inclusive story about ourselves and our past. "In the future, our successors will still ponder the best ways of keeping our national memory vibrant and current. How would you see America's ideas and ideals being presented fifty years from now." -- -John L. Gray, Director, National Museum of American History, 2014
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