Narratives in Museums – Respect for Authenticity in Realistic Human Recreations

Before continuing, I would like to acknowledge the setting for which I am making my portrait bust of Edith Kramer.

In their collection of essays ‘Museum Materialities’ Sandra Dudley collates different definitions of the object within a museum setting, which all collectively acknowledge the materiality of the museum object. While materiality is, essentially, us and everything around us, within a museum setting this comes down to the physicality of the object, which triggers the viewers sensory experiences, and emotional and cognitive associations (Dudley, 2010, pg. 7).

One of the broad definitions of object materiality presented through Dudley’s collection of essays (2010, pg. 7). An object’s meaning, or ‘materiality’, is constructed both through the object’s sensibilities and the viewer’s interaction with it. Thus, its materiality sits in this in-between state of subjective perception.

This definition of object materiality also insinuates an ‘interaction between [the] inanimate, physical thing and [the] conscious person’ (2010, pg. 5) known as an ‘object-subject interaction’. Through this understanding, I would like to propose the development of a relationship between an object and the viewer, which in a museum setting happens due to the visitor bringing their own frame of reference towards the object. Each viewer will bring their own individualistic frame of reference construed from their own knowledge and life experiences. Thus, an object’s materiality is important to respect as an open-ended question left to be explored by the visitor of the museum.

‘We are material bodies in a material world, and our engagement in the flow of things can only be through our sensory perceptions.’

Susan M. Pearce cited in Dudley, 2010, pg. xix

I wanted to raise the significance of object materiality within a museum setting, as I believe that this unique and intimate relationship creates a narrative that is to be experienced by the museum visitor. As such, they can undergo an emotional and cognitive reaction, leading to educational value, which I can utilise to present the significance of Edith Kramer. This is something that the Madame Tussaud’s museums utilise – they encourage their visitors to physically engage with the exhibits –but which goes beyond just interaction.

It is not only through touch that viewers experience objects – our sight and imagination are just as important tools for engagement. Thus, along with the primary function of being a museum model, I have chosen for this portrait bust of Edith Kramer to be a realistically finished object. In ‘Realisms in Contemporary Culture’ Birke, Butter, and Auer (2013) describe how there is a ‘hunger for ‘the authentic’ in an age saturated by virtual reality, artifice and commodification.’ (pg. 6). The visitor, a likely participator of this ‘contemporary desire for authenticity’ (Birke et al., 2013, pg. 8), will make this a part of their interaction with the object. Consequently, I would like to respect their frame of reference by providing a realistic depiction of the individual I am introducing them to, leading to an authentic narrative.

If realism is the goal though, why am I not using the processes of facial reconstruction? Simply put, I am not interested in presenting an object of identification of Kramer’s features. If the visitor wanted an exact recreation of her image, a video screen could be used by the museum to meet this function. Instead, I am emphasising the narrative of authenticity, by creating a representational object for the viewer to experience. As such, the viewer is introduced to Kramer through the perceptions of the maker (me!), which relates to the work of Kramer within the art therapy field – the focus is as much on the end-product of an artistic creativity, as the process the maker took to get there. Lastly, the material from which it is made (wax) expands on the aspect of authenticity through its natural rawness and history of human usage.

In this way, the viewer is introduced to Edith Kramer through an authentic object-subject interaction, creating a representational function in an open-ended narrative. As she herself was an avid participator of the social realism art movement which aimed to symbolise the importance of others through art, it deepens the narrative through which the viewer learns of Kramer.

My representation of Edith Kramer in oil paints. A study exploring the forms of her face and emotional realism. I found it important to explore her in paint form before moving onto three-dimensional form as it represents Kramer’s ideals of using creativity as a tool for understanding and growth.

Edith Kramer in the foreground, with a portrait of herself in the background.

Advertisement

Wax as a Material – What’s the fuss about?

Wax as a material is one of the most respected, and oldest materials from around globe. In fact, in her book Wax as art form, Thelma Newman (1966) describes the ‘story of wax’ to be so ‘colorful and at times so weird that it takes on the aspect of a fairytale.’ (p.12).

While in the UK we may recognise it from the candles on our shelves, and perhaps the Madame Tussaud’s museum, wax actually has a widely rich history. For instance, did you know that in the fifteenth century, wax was used by West Indians on their bodies to keep mosquitoes away (Newman, 1966, p. 13). Or have you ever heard of the ‘Batik’ tradition – a Malayan word for ‘wax writing’ that was practised by noblewoman in Indonesia around the thirteenth century after originating in Egypt. It is a way of ‘drawing a design on fabric with hot wax and then coloring the fabric with water-based dyes’ (Newman, 1966, p. 224) resulting in some beautiful pieces.

Batik in the making.

---

Want to find out a little bit more about wax? Check out some of the links below!

National Candle Organisation – If you are curious about the history of the everyday candle.

Encaustic Wax Painting – Tired of acrylic paints? Why not try painting with some tinted beeswax.

History of Batik – A deeper dive into the story of Batik.

Ukrainian Pysanka – Traditional Easter eggs from Eastern Europe decorated using wax

---

In terms of painting and sculpture specifically, wax was used in a multitude of ways. Beeswax for instance, the oldest known wax (Newman, 1966, p. 19) was used by Titian to soak the back of his canvases to protect them from damp. It was also quite widely used as a key component of the church candle.

The uses of wax through the centuries can be categorised into a few broad categories.

So why was wax so popular and used for so many purposes? This could be partly due to its qualities which rival that of the versatility of clay. This meant that the material was a tool for creativity, inspiring people to adjust it to their needs.

GOOD TIP! Dirt kills the consistency of wax (Newman, 1966, p. 106) which means it is important to consider the storage of the material between uses.

In addition to these properties, wax also has a notable relationship with the way it interacts with light. Newman describes wax as being ‘very good at transmitting light’ (1966, p. 108). Through this, the viewer is invited to see the sculpture in a more realistic manner. In fact, Newman claims that some artists ‘believed that it was possible for a sculptor to collect light from a given position and… render an equivalence to light yielding emotions akin to the feelings we have when we view a living figure’ (1966, p. 108). It is no surprise then, that wax has been used by some notable artists through history to create models for anatomical study and for aesthetically realistic purposes – through wax they could bring further life to their work.

The funeral effigy of Elizabeth of York, mother of King Henry VIII, 1503, Westminster Abbey

Therefore, I think I want to finish this post by highlighting that wax has a narrative to it. Rich history that embodies creativity of the individual is at the core of how wax has been used by cultures all around the world, and I think this relates quite well to the subject that I would like to recreate in wax form – Edith Kramer. As described in my previous post, Kramer emphasised the benefits of creativity on mental wellbeing, so I quite like the idea that I would be reflecting her practise in the actual material that I will use to make her. I also like how it relates a little to the reason why I chose this project as my closure to my University degree – my own experience of creativity and the way I have slowly explored its benefits in my personal practise.

Final Major Project – Who was Edith Kramer?

Edith Kramer

I am nearing the end of my final year at University, which means it is now time for my Final Major Project! Despite the setbacks caused by the pandemic, I have been excited to start researching and making the last model for my degree.

I have chosen to make a wax bust of the late artist and pioneer of the Art Therapy movement, Edith Kramer. I was first introduced to Kramer during my dissertation research, and really admire her approach to creativity and people.

Edith Kramer was born in 1916 in Vienna and became involved with art early on in her life. Her childhood learning happened in one of Vienna’s progressive and liberal school, with her first art teacher being Trudl Hammerschlag. Later, she studied under the inspiration of the artist Friedl Dickers, who has been stated as a notable influence on Kramer’s later work.

Frederika “Friedl” Dicker-Brandeis (30 July 1898 Vienna – 9 October 1944 Auschwitz-Birkenau)

In the 1930s, Kramer came to America as a political refugee, where she got involved with teaching, and later worked as a mechanic during the second world war. It was in the latter that we saw her interest in social realism art, in particular her interest in people.

The first time Kramer officially worked as an art therapist, was at the Wiltwyck School for Boys in 1950. She continued to run therapeutically oriented art programmes at Leak and Watts Children’s Home from 1960 – 1963, and later worked with the Guild School of the Jewish Guild for the Blind from 1964 – 1974. She was officially given the title of art therapist some time into her career and dedicated a large percentage of her working life to research and setting up training programmes at various universities around the US.

She worked predominantly with a psychoanalytical approach, influenced by Freudian theories of sublimation and the unconscious. However, she was not simply a Freudian copycat and merged both psychoanalysis and art together. This was influenced through her early education by Hammerschlag who introduced her to the ‘free and unconventional expression of unconscious feelings’ in art and later, by Dickers’ teachings which showed her practical ways in which art can be used by children and adolescents to process traumatic experiences. These educational experiences build Kramer’s knowledge about both art and psychoanalysis, from which the term ‘art therapist’ was coined for her.

There were multiple ideas and theories that Kramer contributed to the field of art therapy that are still used by practitioners today to make a real difference in people’s lives, just as she did. Particularly, the art therapists’ ‘Third Hand’ – a way of supporting a child’s creative process so that they may use it to accept their inner conflict and feelings. She saw a great power in the creative process that artists cultivate in helping others to make sense of their own experiences.

Kramer, E. (1977). Art therapy in a children’s community.

Kramer, R. (1978). Art as therapy with children.

Kramer, E. (2001). Art as therapy: collected papers.

Her unconventional approaches have made a lasting impact on the field of art therapy, and subsequently, on so many people in the past and future. Personally, I have been really encouraged by her ideas – I have been studying a creative degree for nearly three years and have experienced an inkling of the power of that process that she writes about so eloquently. It seems quite fitting then, that I end my undergraduate university studies by commemorating Kramer’s significance, and relating it to my own experience of creativity.