The Power of the Image – Museum Engaging and Visual Sources
By Kevin Guyan, on 1 September 2014
By Kevin Guyan
In the first of two blog posts exploring Student Engagers’ experiences of using images when sharing research in museums, Kevin Guyan discusses the enthusiasm he has experienced and the two-way conversations created from photographs of homes in the 1940s and 1950s.
I was conscious of the importance of visual material in the sharing of my research since commencing the PhD process, with photographs possessing the power to transform dense moments of a presentation into something more accessible and engaging. However, a recent change in direction in my approach to engaging across UCL Museums has illustrated the power of the image even more than I had first imagined.
I am a PhD student in History and my research explores the ideas of experts planning the design of social housing in London in the decades following the Second World War. I specifically question how planners understood men’s actions and behaviours within the home and attempted to reconfigure these performances through design and planning. To summarise these ideas in a visual form I brought with me to the museum eight photographs: architects, planners and Royal attendees at the 1943 County of London Plan exhibit (below); images from the Live Architecture exhibition at the 1951 Festival of Britain; designs from the 1940s for how living spaces should be arranged and photographs of ‘model homes’ from the 1950s.
Upon display of the images, the heightened level of response from museum visitors surprised me. Without the need for me to even look particularly inviting – visitors assembled at my table and questioned, ‘Well, what do we have here?’ This expression of interest enabled me to explain the Researchers in Museums project, give a brief outline of my research and explain why I am based in the museum for the afternoon.
The images offered a starting-point for conversation, with several of the visitors quick to draw links between the photographs and experiences from their own lives. One visitor asked questions on racial differences in postwar domestic practices, citing a BBC documentary on the historical significance of the Front Room for black families in the latter half of the 20th century. Another visitor examined the current arrangement of their own home – questioning where Dad relaxes after a day at work, in which room children do their homework and the location of where meals are eaten. Memories of previous homes also featured in our conversations, with one visitor proudly sharing the forward-looking mindset of her Father who would always assist with the household chores or assist the children with their homework in the living room. People were thinking about their own homes, both past and present, in a new way, while also educating me on their experiences and opinions towards my research.
This deeper engagement is exactly what I was hoping to achieve with my afternoon and made clear the value of public engagement when it operates as a two-way discussion, in which both the museum visitor and myself left feeling better informed about the subject. This approach to museum engaging also enabled me to avoid disturbing visitors keen to explore the collections on their own, with no wish to engage in conversation. This approach therefore circumnavigated this problem, with my assortment of images acting as a magnet for those in the museum that wish to engage in a personal conversation and learn more from their visit.
The use of images has made me think further about how those working in museums could expand upon this approach. How can researchers discuss their work in ways that go beyond talking? I am aware of other Student Engagers that have used sounds to spark conversations – I feel encouraged to explore ways to bring the smells of early 20th century housing into the museums, or evoke conversation through the tasting of certain foods and drinks. History is a sensory journey into the past and there is a need for myself and others sharing their research with the public to look across the senses to make their research as accessible and engaging as possible.