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Teaching About Mental Illness at the Museum

“It disgusted me even to move,” wrote an artist to his younger brother, “and nothing would have been so agreeable to me as never wake up again.” The year was 1889; the place, the Saint-Paul Asylum in Paris; the artist, Vincent van Gogh.

We’re accustomed to seeing Van Gogh’s breathtaking work in the museums we visit. Maybe, like me, you’ve marveled over a number of his paintings at the Norton Simon Museum in Los Angeles, far from his home in the Netherlands; or you’ve reflected on his self-portrait right here in Massachusetts at the Harvard Art Museums; or perhaps you’ve even gotten to step right into the artist’s world by experiencing the immersive Van Gogh Exhibition.

We know well how to appreciate his work. But have you ever seen a museum deal candidly and compassionately with his mental illness?

Saint-Paul Asylum in Saint-Rémy-de-Provence, 1889. Vincent Van Gogh.

As someone who cares deeply about mental health advocacy, I often wonder how — as an emerging museum professional — I can do my part to educate our world on the realities of mental illness. Many people still carry harmful misconceptions about mental health, even as they appreciate the work of artists and public figures whose lives were marked by such unseen sicknesses. Although there are countless historical figures whose writings, work, and actions make clear that they would now be diagnosed with some type of mental illness, the museums dedicated to these people rarely ever acknowledge the profound difficulty that they faced in life as a result of this. As museums, bound in our responsibility to educate and enlighten the public, shouldn’t shedding a light on mental illness be part of our job?

As it turns out, some museums across the globe are doing just that. Holland’s Van Gogh Museum, in fact, dedicated an entire 2018-19 exhibition to its subject’s mental illness. Van Gogh Dreams plunged visitors into an immersive journey through Vincent’s dark time spent in Arles, France in the late 1880s, where he ultimately suffered a terrifying breakdown. In order to help visitors understand what the artist was going through, the museum recreated his experience with the help of “a dark room with flashing red lights and shattered mirrors.” By creating such a visceral experience, the Van Gogh Museum invited visitors right into the tortured mind of Vincent Van Gogh in some of his most difficult moments — and there is perhaps no better way to foster empathy.

Patient artwork at the Glore Psychiatric Hospital Museum. Via Flickr.

Several former psychiatric hospitals function as museums today, shedding light on mental health history, telling the stories of the residents by displaying their artwork, chronicling the mistreatment they faced with surgical tools and equipment, and challenging visitors to overcome their own internal stigmas surrounding mental illness. (A few such museums are the Glore Psychiatric Museum in Missouri, the Oregon State Hospital Museum, and California’s Patton State Hospital Museum.)

In 2017, the Museum of Science in Boston did groundbreaking work by becoming likely the first major American museum to address mental health from a scientific standpoint —  but the goal, MOS staff explained at the time, was not to flood visitors with statistics and information, but instead to make people who live with mental illness feel welcome and heard, and to inspire empathy in all others. This should be the aim of every museum tackling topics of mental health — which, I believe, should be most every museum.

Then there is the question of visiting museums while mentally ill. Museums are institutions for all, places where people can come and be refreshed and rejuvenated — places where we should all feel that we belong. Yet issues of accessibility mean that, for so many, museums don’t feel like an option. The article “The Unseen Museum Visitors: Persons With Mental Illness” encourages museums to reach out to local mental health professionals, collaborate and share resources with one another, and simply embrace the idea of truly creating a community for all people. By committing to greater accessibility, education, and compassion, museums can be part of the solution to the discrimination that people with mental illness experience all too often.

About 1 in 4 American adults suffer from a diagnosable mental illness. This means that, should museums decide not to tell the stories of or create welcoming environments for human beings with mental health struggles, nearly 58 million people in this country alone will be neglected. There is great power in the museum to foster welcoming for those who have felt unwelcome all their lives, and to teach empathy to all others.

Van Gogh Dreams at the Van Gogh Museum, which experientially recreated the artist’s 1889 breakdown.

Imagine how many people would feel represented if every museum that displays a Van Gogh recognized his mental illness with grace, compassion, and knowledge. He, and so many others, deserve to have their truth told.

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What’s on My Museum Bucket List?

It may already be February, but in my opinion it’s never too late to set New Years’ Resolutions, and one of mine—maybe not surprisingly—is to visit more museums! With museums increasingly reopening after the pandemic restrictions of the past two years, there has never been a better time to schedule a museum visit or two. Here are a few of the Boston-area museums I’m looking forward to checking out in 2022!

The newly-reopened galleries of Dutch and Flemish Art at the MFA.

The Museum of Fine Arts

The MFA has long been one of my favorite museums, but when I heard that the museum recently reopened its Greek, Roman and Byzantine and Dutch and Flemish galleries, I knew I had to plan another visit ASAP! Between these two recently reimagined spaces and the museum’s many other ever-popular collections, there is always something new to discover at the MFA. And don’t forget that Tufts students can take advantage of free admission!

The Museum of Science

Even though I’m an art historian myself, I’ve always loved visiting science museums. And despite living in Boston for nearly two years now, I still haven’t taken the time to visit Boston’s Museum of Science! From animals, to engineering, to outer space, and beyond, there is something for everyone at the Museum of Science, including adults. Check out a list of their current exhibits here!

The Boston Athenaeum

The Mapparium at the Mary Baker Eddy Library.

Another museum that has been on my radar since I moved to Boston is the Mary Baker Eddy Library, a historic research library that also offers a wide range of exhibitions and special events. I’m particularly curious about the Mapparium, a three-story-tall stained-glass globe that dates from 1935. The site is open every day from 10am–5pm, and admission is $6 (but NEMA members can get in for free!).

The Museum of Bad Art

“Charlie and Sheba,” a 2007 painting by an anonymous artist that can be found at the Museum of Bad Art.

Located right by Tufts’ campus in Davis Square, the Museum of Bad Art describes itself as “the world’s only museum dedicated to the collection, preservation, exhibition, and celebration of bad art in all its forms.” While the museum is currently closed indefinitely, you can still explore their collection online. While I won’t disagree that many of the museum’s holdings are in fact pretty bad, they’re also fascinating and incredibly entertaining!

The Harvard Art Museums

Another museum not far from Tufts’ campus is the Harvard Art Museums, comprised of the Fogg Museum, the Busch-Reisinger Museum, and the Arthur M. Sackler Museum. The Harvard Art Museums boast a diverse collection, with artworks from all over the world and ranging from ancient to modern and contemporary. And if art isn’t your thing, Harvard also has a bunch of other museums including the Warren Anatomical Museum, the Harvard Museum of Natural History, the Peabody Museum of Archaeology and Ethnology, and more. Personally, I’m looking forward to checking out all of them soon! Tufts students can get free admission to the Harvard Art Museums, too—but don’t forget to make your reservation in advance here!

Are there any museums on your 2022 bucket list? Let us know in the comments!

Talking about grief with color

I’ve recently fallen in love with the New York Time’s Close Read series, a digital exploration of a select number of works that serves as a fantastic introduction to interpretation and, well, close reading. The format itself is very user friendly and as someone who has little professional training in the arts, the information feels comfortable and approachable, not at all didactic or overly wordy. As I’ve been parsing through this series, I came across one that has been sitting in my mind all weekend.

MCA - Collection: In Memory of My Feelings - Frank O'Hara

In Memory of My Feelings – Frank O’Hara (1961)

“How a Gray Painting Can Break Your Heart” by Jason Farago is an in-depth exploration of Jasper Johns’s “In Memory of My Feelings – Frank O’Hara.” My immediate impression of the piece was underwhelming and frankly, I thought it was another abstract piece of art that would be far out of reach for me. “In Memory of My Feelings” is a gray painting; it is literally 99% gray and even the physical attachments of wire and spoon and fork are all gray. So, to me, not only was this piece at first glance dull, but it was also rather depressing. However, Farago explores this color and its meaning within the piece beautifully using Close Read‘s digital format. Farago’s narration is accompanied by a smooth transition between zoomed-in shots of specific pieces of the work and larger holistic views of the entire canvas.

This easy access is important for both visitors and educators who may not be entirely familiar with Jasper Johns and his gestural paintings. Not only do we get Farago’s interpretation of what these specific aspects of the piece mean, but we also get a refined look at the piece as a whole; we can pick up on subtle nuances in the gray that our untrained eyes may have otherwise missed. For me, I didn’t even pick up on the presence of any words on the canvas, but Farago highlights the importance of the raised “A DEAD MAN” lettering (and even goes so far as to give reference points for those like me who still struggled to find the phrase in the gray). 

“A DEAD MAN”

“In Memory of My Feelings” is a difficult piece; it is heavy, it is grieving, and it is at times frustratingly vague. As educators, we are often faced with these difficult works and the even more difficult conversations that accompany them. Farago’s method of interpretation here can be a useful tool for educators looking for a way to facilitate these conversations because he allows the viewers and readers to digest the piece at their own rate while considering their own thoughts and feelings. He constantly comes back to the thematic color gray as a grounding piece that we can latch onto and expands each interpretation of an idea from this color gray. I am fascinated by this method for talking about grief, utilizing something as universal as color to connect audiences to a concept that is uncomfortable, yet well-known today. And I feel that there is even more to be learned from Farago’s use of the New York Time’s Close Read format; it is an excellent way of getting viewers up close and personal with these important colors and ideas on canvas, especially in an age where being up close and personal is not always possible.

You can experience Farago’s interpretation of “In Memory of My Feelings” here and visit the Close Read series here.

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