Changing Museum Rituals

Gina Cashia, Marketing & Communications Intern, on Franz Erhard Walther’s Red Song.

As a grad student seeking a Master’s Degree in Arts Management at George Mason University, “Arts and Society” is one of my core classes this semester. Required reading includes Civilizing Rituals, which examines the ritual practices that occur in art museums. Author Carol Duncan explains how when entering a museum, a visitor goes through a social transformation. According to Duncan, museums often unwittingly provide a scripted experience for a visitor; although all museums possess different aesthetics, they have the same goal to “construct visitors as enlightenment seeking citizens, and lead them on a tour through history.” 

Growing up, I saw museums as entities with a set of of rules to follow, such as talk quietly, dress nicely, and refrain from touching artwork or taking pictures, which can be at odds with creating a welcoming environment for all audiences. However, one work at the Phillips caught my attention as a good example of how present-day museums and artists are attempting to break this standardization of rituals by having visitors create their own aesthetic experience through interactive art: Red Song by Franz Erhard Walther. Walther produces works, often in primary colors and out of ordinary heavy canvas, that are reminiscent of minimalist compositions, and is recognized for his early investigation of participatory art. Using fabric forms (which he first developed in the 1960s), the artist invites visitors to engage with his work, emphasizing the temporal and experimental aspects of art. This is the case for his piece Red Song, currently on view in a gallery showcasing recent acquisitions. 

 Upon first glance, Franz Erhard Walther’s Red Song can be perceived as three red cloth lockers lined up next to one another with three red coats hanging inside. The artist asks the viewer to carefully untie the item hanging in the box and interact with it (visitors to the Phillips are invited to activate this piece between 2–3 pm daily). Although there is nearby text that supports the interaction between art and viewer, people are still hesitant. When I spoke to Museum Assistants about the presence of the interactive piece, their responses, in my opinion, weren’t surprising. They tell me interaction has been limited because people are afraid to touch the work or get in trouble, even with the text offering permission. This fear of art, or fear of interaction, is might come from the rituals that were created and associated with museums. In a world where rules are meant to be followed, how can museums eliminate that sense of fear? 

When I first saw Red Song, I thought it was an installation, potentially referencing hazmat tents and suits. I did not realize it was an interactive piece until I spoke with a staff member. To see how others reacted to the piece, I staked out the gallery for a bit. During my first observation, I hoped one of the four people in the space would start participating. Their interaction didn’t extend beyond talking to one another about what it could be. The second experience I had with Red Song was much different; I both observed and interacted. At first I was cautious when I began untying the items and delicately placed them on my body. After I became more acquainted with the piece, though, I found myself being drawn back to my childhood, reliving memories of dressing up and living in an imaginative moment. The next thing I knew, I had spent 20 minutes dressing, undressing, tying, untying. This piece made me wonder what the compositional structure references, and if it’s supposed to have multiple people interacting with it at once or one person at a time.

 After trying my own hand at interacting with Franz Erhard Walther’s Red Song, I stood in the gallery and admired the true beauty of this piece that at first glance I hadn’t understood. Soon, two visitors, Janet and Cate, entered the gallery. After reading the Red Song text and checking which piece it was referring to, they put the provided plastic covers over their shoes and carefully walked over. As they began this process, I noticed how their body language changed. When they entered the gallery, they were confined and quiet; now they became curious, talkative, and lively, echoing my own experience. They removed the hanging items and draped them over their bodies in different fashions. Janet had turned what I thought was an apron into a cape, and Cate had taken two arm pieces and made an entire jacket. When they finished, I asked both women two questions: “what are your thoughts on interactive art?” and “what was your overall experience?” Janet: “Interactive art is great. We (all) would like to touch more art. I didn’t understand it at first, but I don’t think you need to understand it to really enjoy it. I thought it was a great experience!” Cate: “You are taught at an early age that a museum is a place confined by rules, but this piece is very inviting. It definitely breaks your expectation of what art is, which makes it fun. Being able to interact with it is immediate. You don’t have to think about it. It really reminded me of playing make believe, or dress up.” 

I also spoke with Museum Assistant and Registrar’s Intern Jimin: “This is interesting to see in a museum considering we have been taught to not touch the artwork. Overall I didn’t understand the subject, but I was still able to appreciate my experience with it. This whole concept is eye-catching. Once I became a part of the sculpture, I realized it’s three different pieces. Is it supposed to be one outfit worn by one person, or three different people? Why is it red? What was the artist’s intention?”

 The last person I observed in the gallery with Franz Erhard Walther’s Red Song read the directions, admired the work, became very familiar with the piece, but walked away without engaging with it. I couldn’t help but wonder, why? When I asked her, she simply told me, “I didn’t participate because I felt I was too old. If I had my kids with me I would have loved to have seen them engage with the art work.” I wonder, does interactive art have an age limit? Art is created for people of all ages and walks of life to enjoy. When it comes to viewing art from a distance, everyone experiences it. When it comes to engaging with art, it becomes difficult to accept. Is it only difficult to accept because the rules associated with a museum setting? In a world where change occurs daily, how do museums maintain their traditional standards while still evolving with the times? 

Although not all visitors choose to interact with Red Song, the existence of this piece fosters curiosity and conversation. Red Song is still on view, and you’re invited to join in the interaction (visitors are invited to activate this piece between 2-3 PM daily). Create your own personal experience through your senses of vision and TOUCH.