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Opportunities in a crisis: Silke’s Christmas message

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HSM Director Silke Ackermann shares her mantra for 2020, reflects on innovative — if occasionally bumpy — times this year, and looks forward to some exciting new initiatives for 2021.

Early in the year, when listening to the Chinese Ambassador speaking about the virus in Wuhan on a BBC politics talk show, I was entirely fascinated to learn that the Chinese word for crisis is a combination of two words: crisis and opportunities.

Never was an interview — or an unexpected language lesson — timelier.

Yes, we can

There are opportunities in every crisis became our mantra – a mantra that enabled us to maintain a positive can-do attitude throughout world-wide challenges to the cultural sector that neither of us could have imagined in our worst nightmares.

We:

  • developed new and agile working practices
  • embraced digital media whose name we had not even heard of a couple of months earlier
  • created innovative displays online for lockdown(s) and onsite for reopening
  • reached audiences globally who were previously not even aware of our existence, and
  • managed to keep all team members safe and supported throughout.

A new vision

Amazingly, we also managed to keep Vision 2024, the ambitious strategy for our centenary, on track and on schedule.

Even better: the necessity to adapt and change at breath-taking speed over the past ten months has provided us with any number of chances to trial and pilot ideas that we want to implement for Vision 2024 – opportunities in a crisis, indeed.

THANK YOU to our fantastic audiences and wonderful supporters who came along with us on the occasionally bumpy ride — we could not have done this without you!

It’s all about teamwork

None of this would have been possible without the incredible team that I have the privilege to lead, and especially my colleagues on our Executive Team who have rolled up sleeves, pulled out all the stops, and were there with me when the going got tough. THANK YOU!

  • One of our curators unveils our iconic Armillary Sphere after Lockdown
  • Browsing ingenious objects
  • Checking out goodies in the Museum Shop

We hope that 2021 will continue to offer opportunities, but ideally less crisis!

With best wishes for a peaceful and relaxing festive season and a happy and healthy New Year.

Silke
Dr Silke Ackermann FSA, Director

First Impressions of the Portrait of Sir John Chardin

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Camille Leadbetter tells the story of her first encounter with the portrait of Sir John Chardin, currently hanging at the top of the stairs in the History of Science Museum in Oxford. 

Hello! My name is Camille and I’m a History of Art Undergraduate at the University of Oxford.

Since the start of 2020, I have been researching the provenance and connotations of the portrait of Sir John Chardin that is currently placed at the top of the stairs in the History of Science Museum.

In this blog series, I will guide you through the process of my research and present you with the tools to reimagine this portrait and what it means in the contemporary age. 

I will also encourage you to develop and share your own thoughts about the portrait. 

I hope you enjoy! 

My first encounter with Chardin

I first came across this portrait during a trip to the History of Science Museum in Oxford with my cohort in the History of Art department.

It did not strike me as a particularly stunning or well executed work of art but its dominant positioning and frame demanded my attention as I ascended the stairs to the second floor of the museum. 

The eccentric frame that accompanies the portrait, complete with astronomical and navigational devices and spherical globe on the top, is carved in wood and painted bronze.

I did not recognise the man in the portrait, seated and staring out towards his audience with confidence, nor did I recognise the young black boy standing meekly behind him and holding up a 17th century map of the Middle East to which the seated figure points. 

There is no reference to the boy in the accompanying label. 

The Museum as a frame

As part of my Art History degree, I have studied the concept of the museum being as much a frame of an image as its physical frame. The art historian Paul Duro established that the positioning and whereabouts of a painting hold ‘institutional, ideological and perceptual’ connotations, all of which contribute to how a work of art is received by its viewer. 

Therefore, the museum and what it chooses to display can often have underlying effects on how its core values are characterised in the public eye.

Especially for a museum not specialising in art, choosing to show this as one of the only paintings on display to the public could be misleading about its curatorial mission. 

This project has involved giving the boy the thought and consideration he has not been afforded in the past — which is all the more crucial now in an age when the traditional museum role of gathering and displaying collections to be consumed and interpreted by viewers and conservators is now being reframed in the light of an evolving relationship between the institution and the contemporary public. 

Camille Leadbetter is a History of Art student at the University of Oxford.

Other posts in this series:

Beginning the Process of Decolonising the History of Science Museum’s Collection

Reframing the “Chardin” portrait

Beginning the Process of Decolonising the History of Science Museum’s Collection

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Rhiannon Jones, Head of Public Engagement and Programmes at HSM, introduces a new blog series from Art History student Camille Leadbeater, which will focus on decolonising the HSM Collection.  

On visiting the History of Science Museum I was struck by many things – the beautiful historic building, the extraordinarily rich and fascinating collection, and also a painting that hangs at the very top of the Museum.  

Immediately, the younger figure in this painting jumped out at me — a young black boy with a silver collar around his neck and what appears to be a tear on his cheek. 

When I read the label next to the painting, it makes no reference to this young boy.

Instead it talks about the white man next to him, Sir John Chardin, (1643–1713), who I presumed must be a famous scientist but is in fact a jeweller and travel writer.  

When I came to interview for my role in late 2019, I felt compelled to raise this painting and its place within the Museum. My nieces’ father is from Uganda, the eldest is four years old and if they were to come and visit me in my place of work how could I explain this painting to them? The only black person they would see would be what appears to be a slave; what kind of message would this send to them about their role in STEM?  

I was nervous, but suggested the painting’s removal in my interview and the panel challenged me to offer other solutions. As well as changing the interpretation on the label, I suggested having a similar-sized portrait of a modern scientist, such as Dr Maggie Aderin-Pocock, an inspiring black female scientist; even if the interpretation were changed my nieces would not yet be able to read that and it would be much more powerful to have a visual counterpoint.  

At the time I did not know how these suggestions were received, but I have since been told that it actually helped me in securing the role and that the Museum had already been discussing this painting. 

Since joining the Museum in December 2019, I have been passionate about starting a project around this painting to discuss its reinterpretation and its place in the Museum.

When I heard that an Art History student from Oxford had chosen to focus on this painting for her Object Essay, I was delighted. Camille Leadbeater has done brilliant work exploring the cultural and historical contexts surrounding this painting and seeking to answer the question of who this boy could be, foregrounding his story. She has brought her own story to bear on this, as a young black person, and has rightly challenged the Museum on the display of this painting.   

At HSM, we believe that museums have a responsibility to our communities and our shared history — we stand with Black Lives Matter. We acknowledge that Museums are not neutral spaces and we have much work to do in order to tackle structures of racial inequality.  

It has been heartening to see how the HSM Team has got behind this project. Now our Top Gallery is open again, we’re sharing this story with our visitors, showing how we are working to reinterpret this painting as part of our commitment to decolonise the HSM collection, and asking for their thoughts and feedback.

With this blog series, we want to start this important conversation about our collection with all of you.

I hope you will follow Camille’s journey of discovery and share your own thoughts with us.  

We would love you to:

Rhiannon Jones is Head of Public Engagement and Programmes at the History of Science Museum 

Other posts in this series:

Beginning the Process of Decolonising the History of Science Museum’s Collection

First Impressions of the Portrait of Sir John Chardin