ntroduction

The goal of this chapter is to examine personal collections displayed

as artwork. We all have keepsakes that mean a lot to us personally.
Many of us go further and start a collection of things we really like. It
could be porcelain bells displayed in a cabinet; it could be Star Trek
models and figures arranged on a set of shelves. Whatever the
collection, it always says something about what the owner values.

For artists, a creative, three-dimensional display of a related group of

objects goes beyond mere keepsakes and collecting. Now the display
of the collection becomes an art form in itself. What kind of display
should house the collection? Where should it be placed? How does
the collection interact with the space it occupies? These and many
other questions guide artists as they seek to display their collections in
a way that will make the audience stop, ponder, and learn.

Goals and Objectives

Upon the completion of this chapter, you should be able to:

1. Give examples of the kinds of objects people collect.

2. Discuss the role that collecting plays in people's lives and the reasons
people collect.
3. Describe various types and means of display for Three-Dimensional
objects.
4. Define a Cabinet of Curiosity and describe several key examples of
this art form.
5. Recognize a variety of artistic styles in displayed Three-Dimensional
art.
6. List influential Three-Dimensional artists and describe several of their
important works.
7. Describe some of the latest and most innovative Cabinets of
Curiosities .
1.

Time & Activities

Week 6 will last 7 days and should take approximately 4 hours and
45 minutes of dedicated time to complete, with its readings, activities,
videos and quiz. Below is a list of the activities and assignments you
must complete in this module. The instructions for each activity are
listed below.
It is strongly suggested that you proceed through the activities in
the order in which they are listed.

Week Activity Due Date*

Peer Assessments for Inside the Space Assignment July 3
Readings July 5
Artist Feature & Demonstration Videos July 5
Personal Collections Quiz July 7
Personal Collections Art Assignment July 7
* All deadlines are at 11:59 PM (23:59) Coordinated Universal Time
(UTC) unless otherwise noted.

Instructional Activities
Lecture & Readings
Click on the links below to access this week's lecture and reading
materials.
Readings
Introduction to Collecting
Videos
Artist Feature Videos
Personal Collection Assignment Demonstration

Quiz
Take the Personal Collection Quiz (located under "Quizzes" in the
menu) on the information we have learned in this module. Questions
will cover both the online reading and the artist feature videos.
Reminder: There are questions NOT from the online readings & the
Artist Feature Videos in the quiz. These questions are aimed to test
your understanding of the artists' styles, thinking, approach, etc.
While the artworks on the quizzes are not addressed in the course
readings and Artist Feature videos, they are very similar in style to
the ones that are covered. You should be able to utilize your
gained knowledge to correctly identify them.
You should have completed all of the activities listed in this module
prior to taking the quiz.

Art Assignment
Please complete the Peer Assessments for the Correspondence with
Memory assignment. You will be asked to assess the works of two
peers.
See the details for the personal collection assignment. When you are
ready to submit the assignment, go to the Peer Assessments
page and start the process of uploading your photographs and
completing your Artist Statement.
You can view the Peer Assessment Rubric that will be used to
evaluate your assignment. This rubric can help to guide your efforts.
Please note: next week, you will need to complete two peer
assessments of other students' Stories Through the Lens art
submissions. See Suggestions for Critiquing Art and the List of
Adjectives to help you in writing constructive and personal feedback
to your peers.

Personal Collection Readings

Introduction to Collecting: Display of
Three-Dimensional Objects
The act of collecting may be described as accumulating meaningful or
curious subject matter. Whether collecting is driven by instinct, desire,
passion, obsession, curiosity, status, or professional research, this
activity allows one to gain a better understanding and appreciation for
the material. Collecting may be traced back in time to when prehistoric
humans gathered found or crafted objects that they thought to be
beautiful or powerful. Carved figurines were often symbols of fertility
that bore medicinal and religious powers. This tradition continued to
expand and evolve with generations to come, resulting in limitless
varieties of collectible matter. There is something magical and
satisfying about the process of collecting that may be compared to
performance. Humans embark on a search, full of anticipation and
restlessness, until they find that very special object that satisfies them.
Soon after the special acquisition, collectors are once again hungry for
the next hunt. A collection is often reflective of an owner, regardless of
its purpose or meaning. Stories of origin, history, and relationship to
the past and present may be read through the "skin" of each object.
Through collecting, people find order, inspiration, and understanding
of their life as well as their past and present.

Defining Collectable Objects

Collectibles consist of items that people acquire over an extended
period of time. The contents of collections usually have something in
common. This relationship may be detected in their appearance,
function, or concept. Collectibles fulfill their collector's personal
interest or professional research and may take many generations to
complete. While collectibles are usually objects of substance that can
be experienced through the sense of touch, they may also be
conceptual. Memories, experiences, and observations over a lifetime
are just some examples of conceptual collectibles.

More conventional collectibles encompass two-dimensional and

three-dimensional objects. Two-dimensional collectibles might be flat
objects such as family photographs, drawings, paintings, collages,
mail art, stamps, playing cards, maps, books, journals, periodicals,
currency, documents, and more. Objects that possess width, height,
and depth fall into the three-dimensional collectibles category. Their
massive nature looks and feels voluminous, bulky, and solid.
Sculptures, household items, jewelry, cars, scientific specimens, and
animals are just some of the examples. Three-dimensional objects
often seem to be more attractive and thought-provoking due to their
tactile quality. Their plastic form, texture, and size invite viewers to
touch the objects and have a more intimate interaction with them.

The Values that Human Beings

Project onto Objects
As human beings, we tend to project a lot of meaning onto matter that
is memorable or significant to us. Objects that can be touched evoke
appreciation of the past and a better understanding of our
predecessors. As children we carefully engage with important toys or
unique finds, and as adults we store the same items in glass cases,
delicately handling them as to not damage the precious mementoes.
We crowd our homes with useless belongings just because of their
emotional value. For some reason, it often seems too difficult to throw
away objects that remind us of our experiences. Discarding them feels
as though we are letting small pieces of our lives disintegrate and
finally disappear.

The lifespan of an object plays an important part in collecting. People

are naturally drawn to extending the life of their collections by
preserving them in various ways. For instance, collections of insects,
animals, and plants require specialized treatment, handling, and
knowledge. Even as amateur collectors we strive to extend the life of
our organic finds such as flowers, pods, and leaves by drying them on
a window sill or pressing them between the pages of a book.
Preservation of significant objects dates back to Ancient Egypt where
humans, animals, and personal collections were embalmed to
continue their existence after death, supporting the belief that guided
their lives. Preserving everything useful for the afterlife required a
tremendous amount of patience, dedication, and understanding of the
materials. Modern excavations of the past are collected by museums,
revealing to us the life-stories of our ancestors.

Thus excavating objects from the ground or other surroundings may

be viewed as another form of collecting. It is a crucial part of the
gathering process that requires an intimate interaction between the
collector and the subject matter. Through excavation we extract the
roots of our history and culture. Whether this ritual happens in our
backyard or on an archeological site, we gain closure with the
discovered matter and obtain a better appreciation and insight into the
past.
Symbolism of Sculptural Objects Dating Back to Ancient Times
The symbolic value of sculptural objects may be traced back to the
Stone Age, when carved sculptures carried religious and healing
powers. These figurines were created with a specific function in mind.
They were used as mediators between humans and deities, as charms
of luck and protective shields. With time, more and more people
began to collect significant figurines that began to resemble their
owners. To this day we keep objects close to us that have personal,
historical, cultural, or religious significance.
Venus of Willendorf
For instance, Venus of Willendorf is a limestone figurine that dates
back to 24,000-22,000 B.C.E. While hypotheses about this curious
11.1 centimeter figurine continue to grow, its meaning and function
remain a mystery. Small enough to cradle within one's
palm, Venus holds answers to many secrets of the ancient world in a
time when women were worshipped as high-priestesses and life-
nurturers. Exaggerated breasts, stomach, and hips emphasize her role
as a fertility figure that may have been used as a potent charm.
Venus's face has been replaced with multiple braids, once again
stressing her universal identity. She is a symbol of the Mother
Goddess, a miniature object with a large presence.

When discovered in the early 1900s, traces of a red pigment patina or

coating suggested attempts to describe female blood, an emblem of
life-giving. Since this figurine was carved out of Oolithic limestone it
may be described as glyptic because it retained the texture and
weight of the stone. It is also tectonic because it has an overall
rounded form without accentuated extrusions, since the head,
breasts, belly, and hips mold into one unified whole. The scale, shape,
and appearance of this sculpture demonstrate how early people
instilled value and faith into handmade objects.

Shawabti

Shawabti figures dating to 690-664 B.C. are another great example of

symbolic sculptures that were displayed in numbers and played a
crucial role in the burial practices and beliefs of the Egyptians. These
statuettes were carved out of stone or sculpted from mud to resemble
the Pharaoh. They were meant to function as Pharaoh's servants in
the afterlife. Every culture in one way or another has invested
emotional value into objects that were preserved and collected.
Shawabti Box of Nes-mut-aat-neru

Shawabti Figures of King Taharqa

Today, we continue to pass down items through the generations.

Whether they possess historical, religious, medicinal, cultural, familial,
or personal value, they continue to strike us with their beauty and
importance. The patina of time may be seen in their aged surfaces that
demonstrates just how special they were to their previous owners.
People & Their Collections
There is an interesting connection between people and their
collections. It may be described as a dialogue between both parties.
Over time, collectors gain an extensive amount of knowledge about
their collections. In return, the collections respond with their rich past
and surprising transformations. As the collections grow, they evolve
into living entities that become a valuable contribution to society.
There is a certain bond that collectors form with their finds, a
symbiotic companionship that grows to be stronger with time and
commitment. Memory plays an essential part in this relationship,
attaching value to objects that may relate to somebody we care about
or something we believe in.

Reasons Why People Collect—The Act of Collecting

People collect for numerous reasons, all of which are indicative of their
personalities, views in life, and goals for the future. Collections may be
personal or professional, private or public. While some collectors
gather information of interest to share with the public, others choose
to concentrate on personal collections that are kept as private
spectacles. For example, museums have numerous collections of
natural and artificial items that continue to expand and evolve. These
collections not only provide us with important information, but also
engage us. We are pulled into collections with their thought-provoking
stories and fascinating stylistic attributes. While collecting is a
conscious decision, it often happens subconsciously. We are natural
gatherers and it is in our habit to form behavioral patterns. Whether
the reasons for accumulating and even hoarding material may be
private addiction, a fascination with history, tracing of family roots,
curiosity, or mere storytelling, they may be found in most households,
cultures and parts of the world.
Claes Henry Walter Bates, "Plate from Contributions to an insect fauna
of the Amazon Valley, Lepidoptera: Heliconidae," 1862.

Above all, there is a great sense of pride and fulfillment in the "art" of
collecting. As collectors gather, they experience intense anticipation of
acquiring important items that will make their collection more
intriguing. While that discovery may seem irrelevant to others,
accumulating a multitude of related items is a satisfying experience for
the collector. It may be compared to collecting sea shells, sports
cards, or small toys in childhood, and the joy a child feels when he or
she finds another similar object to add to the assembly. Even though
compiling the contents of collections is an enjoyable task, trading is
often just as important. Through trading, collectors exchange useful
information and items to enrich their own collections.

Interest in the past may be another reason for collecting. Examination

of society, politics, economy, culture, history, nature, and religion are
often the main topics of collections. Understanding of our ancestors is
also a pertinent reason for collecting. These types of collections may
take many forms, focusing on specific individuals or on a family tree.
Since childhood, curiosity drives our actions as we discover new
objects and their purposes. Curiosity may be one of the main reasons
for acquiring special finds with a common theme. It makes sense for
people to indulge their curiosities by educating themselves about
them and then obtaining them.

Types & Means of Display

There are a variety of collection types and means to display them.
Each collection is approached in a different way. Collectors consider
the content, size, and purpose of a collection prior to installing it. In
understanding the collection's role and relationship to viewers, its
creator can determine the most effective way to display the material.
While some collections are geared towards the public, others are
meant to be enjoyed solely by their owners. The interactive aspect of a
collection must also be taken into consideration when it comes to
presentation. For instance, museum displays are often showcased
behind glass due to the items' rare and fragile nature. In contrast,
collections in art exhibits, public buildings, and private spaces may
welcome the audience's touch.

Collections vary in size, appearance, function, and content. From

miniature to giant, they lure us in with their magical colors, textures,
shapes, and stories. There are limitless possibilities when it comes to
selecting material to collect and also many ways of displaying it.
Anything and everything may be utilized to present a collection.
Pebbles inside one's pocket or a room filled with curious items are just
two of the more extreme examples.

The contents of collections include natural and artificial matter. Natural

collections may consist of insects, birds, animals, marine life, rocks,
sea shells, plants, flowers, and even human remains. Recall shawabti
figurines that were excavated with the mummified bodies of pharaohs.
Natural collections may contain either living or preserved matter.
Artificial collections consist of man-made materials such as art,
antiques, books, Mail Art, and other paper collectibles, coins,
household items, toys, cars, technology, textiles, earthenware,
furniture, and the list goes on and on. It is nearly impossible to
mention all of the possibilities since almost anything that surrounds us
may be collected physically or even conceptually.

Two Ways to View Collections: By Type and By Means of Display

Collections may be viewed by type and by means of display. Even

though the actual content of a collection is important, the way it is
accumulated and displayed may completely alter its appearance and
relationship to viewers. By observing the contents and presentation of
each collection we can establish a closer appreciation and
comprehension of collectors' intentions.

Collection types may be personal, professional, or institutional.

Personal collections are usually gathered by individuals for their
private enjoyment. There are limitless possibilities when it comes to
personal collecting. While some people focus on small-scale objects,
others choose to collect large materials. The same applies to natural
and artificial matter. For many people, collecting is an integral part of
their lives. It helps them to gain closure, organize their thoughts, and
generate creative ideas. Artists often employ collecting to gather
important artifacts for their art.
Professional collections are found in the offices and laboratories of
individuals who amass materials to conduct research in their fields of
study. The largest and most versatile collections usually belong to
institutions such as libraries, universities, and museums. These
institutions collect items that relate to their roles in society and
connection to the viewers. For instance, museums may collect art of
all styles or concentrate on a specific style or artist.

A collection's presentation dramatically affects its content and the way

it is received by the audience. A conventional approach to displaying a
collection in a museum would be on tables, walls, or inside glass
cases. No matter the approach, collections are usually protected from
the public's touch, room temperature, and traffic. Personal, smaller-
scale collections could be showcased on shelves, walls, inside china
cabinets, albums, or boxes. A more innovative approach to displaying
a collection is often seen in art spaces, where collected objects are
installed in a specific site to create an interactive environment. Recall
how Eleanor Antin's collection, 100 Boots, was displayed in a variety
of settings, taking on a new persona in each location. In addition,
Environmental Installation artist, Andy Goldsworthy, collected rocks in
order to transform them into the Herd of Arches. By arranging
collections in unique ways, artists may alter their meaning or provide
an entirely new one. Unconventional methods of displaying personal
collections would include suspending objects from the ceiling, placing
them in specially designed vessels, or even filling entire rooms with
them. The tradition of dedicating entire rooms and containers to
collections dates back to 16th-century Europe.

Cabinets of Curiosities
Cabinets of Curiosities may be viewed as a specific type of display
that has influenced our modern-day approach to collecting and
showcasing. Rooms of curiosities are larger-scale cabinets that have
also impacted our way of presenting and viewing personal finds. By
learning about the cabinets, their contents and their relationship to the
viewers, we can gain a better understanding of how they served as
models for display. Examining the contents of the cabinets will show
the remarkable blend of multidisciplinary matter combined under one
roof or within a single cabinet.

Claes LoKiLeCh, "Berlin Naturkundemuseum Korallen."

During the 16th and 17th centuries in Europe, people became more
and more intrigued with the relationship between natural and artificial
matter. This interest may be detected in the examination of various
disciplines of the Renaissance period, a time of new-found interest in
life and its mysteries. Function, purpose, and connection of everything
natural and unnatural became a thought provoking topic of study and
investigation called Humanism. Collecting was one of the activities
that challenged and shattered the boundaries between science and
art. Exploration of foreign places and trading also fueled the interest in
the mysterious aspects of life. Artifacts and diverse finds brought back
from Africa, the Americas, Asia, and the Middle East exemplified the
unique attributes of those worlds and served as great contributors to
many collections. It is because of those versatile collections that we
have so much understanding and appreciation of our past. For
instance, since the medieval times, churches collected, stored, and
displayed relics that consisted of clothing or body parts of saints.
These relics were often visited by the public for view, prayer, and
interaction.

Collecting in the 16th and 17th centuries took on a bizarre and quite
innovative form. Personal collections were displayed inside
the Wunderkammern, or Cabinets of Wonder, also known as the
Cabinets of Curiosities. Larger-scale collections filled
the Kunstkammern, or Rooms of Curiosities. The purpose of these
cabinets and rooms was to obtain the most fantastic and rare finds in
order to gain a better understanding of life's mysteries and to
demonstrate the wonderful creations of man and nature. Their titles
referred to the contents' astounding attributes and the reaction they
triggered from the gasping public.

These small and large "chambers" served as shells for the most
incredible blend of art, science, history, medicine, and folklore. This
versatile mixture of materials and categories blurred their differences,
resulting in fantastic and creative displays of fact and fiction. Each
cabinet symbolized a microcosm, a small representation of the world
as seen by its creator. Famous English philosopher, essayist, and
leading figure of modern science, Francis Bacon, astutely described
the crossing between disciplines in the Cabinets of Curiosities when
he wrote in 1594's Gesta Grayorum: "a goodly, huge cabinet, wherein
whatsoever the hand of man by exquisite art or engine has made rare
in stuff, form or motion; whatsoever singularity, chance, and the
shuffle of things hath produced; whatsoever Nature has wrought in
things that want life and may be kept; shall be sorted and
included."(Francis Bacon)
Function, Purpose, and Meaning of Cabinets
The Cabinets and Rooms of Curiosities were filled with "goodies", or
collections of unusual and rare finds, from all over the world. Whether
they belonged to the natural or man-made category, they were
proudly showcased side-by-side in these "treasure chests." Their
placement and presentation were evocative of the collector's personal
taste and understanding of the accumulated items. Environmental
acquisitions consisted of preserved natural specimens like unique
rock formations, pickled monsters, skeletal remains, fossils,
mummified animals and humans, minerals, precious and semi-
precious stones and shells; artificial ones contained jewels, figurines,
coins, artifacts, works of art, medical and scientific tools, weapons,
various inventions and more. For instance, Ostrich Egg
Goblet, created from 1570-1575 by Clement Kicklinger, a master
craftsman from Augsburg, is a marriage between natural and artificial
materials. Clever combinations of gold, silver, coral, and ostrich egg
shell produces a fantastic juxtaposition of real and extraordinary
subject matter reminiscent of Salvador Dali's Surrealist paintings. A
towering ostrich is led on the leash by a moor. While carrying a
magnificent ostrich egg, elaborately ornamented with gold and red
coral, the ostrich holds in his beak a horseshoe with an intention to
consume it. This emblem of luck also signifies the ostrich's immense
power and strength in being able to digest metal.
Claes Clement Kicklinger, "Ostrich-Egg Goblet," 1570-1575
The horseshoe is the ostrich's form of nourishment. Surrounding coral
branches serve as a healing luck charm against evil and damage to
blood and intestines. Ostrich Egg Goblet is one among many works
that demonstrate just how much thought, skill, and creativity were
invested into a piece worthy of a cabinet.

Cabinets of Curiosities may be viewed as books that reveal to the

viewers stories of their past. By examining their contents individually
and as a group, we can learn about their relationship to one another,
the world, and the people who collected them. Each cabinet or room
is a bizarre assemblage, a small version of the world that the people of
the 16th and 17th centuries experienced; a realm of wonder,
confusion, magic, and ambition. The blurred boundaries between the
natural and scientific materials are evocative of the Fantastic art
movement where ordinary and extraordinary objects were juxtaposed
to narrate a message or trigger a certain reaction. The contents of the
cabinets also speak volumes about their collectors' lives, visions, and
views. By carefully studying and analyzing the filling of the cabinets,
we can gain a better understanding of the individuals who collected,
whether it was their passion, obsession, instinct, desire, fascination, or
curiosity.

Collectors of Curiosities

Whether it was intentional or serendipitous, the collectors of

curiosities have made a great contribution to our knowledge of the
past. Through their collections we can determine many crucial aspects
of history. Their endless accumulation of strange natural specimens
and unique foreign artifacts teaches us of the magical juxtaposition of
reality and fiction and allows us to look through the eyes of the 16th
and 17th century collectors. What makes cabinets of curiosities most
unique is their function as forerunners of modern day museums. By
observing their contents, as well as the ideas of their collectors, we
have a better appreciation of today's educational institutions. We
travel back in time when unicorn horns and carved fruit-stones
comfortably rested on shelves among pickled monsters, human
skeletons, mathematical inventions, and master artworks.
Ferrante Imperato, "Le Cabinet de Calzolari," 1622
Collectors of curiosities during the 16th and 17th centuries were
usually wealthy individuals who could afford traveling and purchasing
expensive objects to enrich their assemblies. Many collectors
embarked on long journeys to foreign lands with the intention of
discovering new species and cataloging unique ways of life. Ranging
from royalty to scientists, they had one thing in common— fascination
with collecting. While some collectors were purely intrigued by the rare
and bizarre qualities of their acquisitions, others were also interested
in the function, meaning, and relationship of these items to their fields
of study. Kings like Frederik III and Peter the Great often owned
kunstkammers, or chambers of wonder, where gifts and acquisitions
from various foreign lands were installed to symbolize a small-scale
version of the universe. Some extensive collections also belonged to
the commoners who appreciated and valued the act of collecting.
With time, the general public began to compile small
personal Cabinets of Curiosities, a tradition that still continues.
Cornelis de Neve, "Portrait of John Tradescant Sr.," 1577-1638
A collector who stood apart from many was John Tradescant, Sr. In
addition to owning a spectacular collection, he was also a commoner.
Despite being the nobility's gardener, Tradescant possessed an
amazing range of curiosities. Even though most collections of that
time were accessible only to the upper class, this modest collector
allowed the general public to enjoy his treasures for a small payment.
Through much speculated trickery and malice, an antiquary named
Elias Ashmole eventually acquired Tradescant's collection. It was later
showcased in 1675 at one of Oxford's buildings, which came to be
known as The Ashmolean Museum. The museum charged the public a
fee to view the curiosities, thus was a precursor to today's public
museums.

Cornelis de Neve, "Elias Ashmole," 1617-1692

Carl can Madern, "Ole Worm"
One of the most famous collectors who have contributed to our
knowledge of the past was Ole Worm, a Danish physician, writer, and
professor of medicine. Due to his fascination with science, Worm
compiled a thought-provoking collection that was specific to his
knowledge, interest, and research. In addition to collecting natural
specimens, this doctor and educator also gathered a range of
antiques, artwork, and rare materials obtained from travels and trade
as sources for education and personal study. The "ingredients" of
Worm's collection were thoroughly documented through the engraving
medium and text. This priceless information soon became known as
The Museum Wormianum or History of Rare Things. Published in
1655, a year after Worm's death, this catalogue inventoried the
contents of the collection with helpful descriptions, explanations, and
theories. The piece of literature was not only a remarkable example of
Worm's studies, views, and accomplishments, but also a great asset
to the literature on European museums of that time. It demonstrated
the doctor's meticulous and extraordinary work and alluded to other
writers' thoughts and discoveries. It must be noted that Worm
performed various experiments with the specimens in his collection,
recording his conjectures and results to share with the medical world.
For instance, in one of his investigations, Worm determined that the
unicorn's horn showcased in his collection was merely a narwhale's
tusk. He conducted other unique experiments which he shared in this
book, such as the study of the origin of lemmings. The only surviving
example of The Museum Wormianum is housed at the British
Museum.

Musei Wormiani Historia

After Worm's death, the collection was added to the Royal
Kunstkammer of Frederik III, the king of Denmark and Norway who
reigned from 1648 to 1670. Frederik III was highly educated and
appreciated the art of collecting. His numerous possessions are
reflective of his fascination with natural science and theology.
Treasured within the Copenhagen Castle, the Royal Kunstkammer
consisted of lavishly decorated chambers that housed natural
specimens, objects of ancient antiquity, mathematical and scientific
inventions, works of art, portraits of royalty, medals, coins and more. It
was a dwarfed universe, comprised of marvels of the past and
present. Representations of natural and artificial realms were united to
evoke a sense of wonder and shock. Exploration of the world and
expanding trade allowed Europe to have a better understanding and
interaction with other cultures and ways of life. This growing interest in
other worlds may be seen in Frederik's collection, which was built
through purchases and gifts.
King Frederik III, 1600s

Expansion of the king's Kunstkammer contributed to some of the

transformations of the collection and its relationship to the outside
world. Similar to modern day museums, the Royal Kunstkammer was
overseen by a hired staff that included a curator as well as several
attendants. As the collection grew and evolved, another building was
erected to accommodate the numerous curiosities. While at
Copenhagen Castle, the Royal Kunstkammer was accessible only to
the selected royalty, its new location allowed the public to purchase
guided tours through the chambers thus making the establishment
one step closer to the modern day museums. Today
the Kunstkammer has been divided into nine rooms or cabinets which
represent different curiosities. The wonders filling these chambers
mimic their original groupings and presentation.

Reorganized Collections

Private collections of smaller, yet equal, caliber were often donated to

various institutions in order to share the pride and joy of their treasures
with the public. With the arrival of the 18th century, the mish-mash of
natural and artificial materials confined in the same space no longer
seemed appealing or curious. Scholars became interested in the
specifics of each discipline, calling for careful and scientifically
systematic approaches to collecting and displaying. With the Age of
Enlightenment, new views, studies, and perceptions of nature and life
did not fit the previous multidisciplinary representation of the
macrocosm. The Royal Kunstkammer was divided and distributed
around 1825, sharing its priceless contents with different types of
museums. This transition in viewing and understanding science, art,
and antiquity gave birth to specialized museums that were dedicated
to particular fields like medicine, geology, natural history, art, and so
on. Displays of specimens were also particular to their order,
classification, and connection to the surrounding matter. The
museums were now accessible to everyone, serving as institutions of
learning. By viewing each discipline separately and individually, the
public received a more clear and focused education. Thus the
classification system of museums allowed for a more intense
experience in comprehending the display.

Charles Wilson Peale, "Charles Wilson Peale Self-Portrait," circa 1791

The Peale Museum, founded by American naturalist and artist Charles
Wilson Peale, is one of the earliest museums. Located in Philadelphia,
it served as an example for later museums in presentation, structure,
and philosophy. The Peale Museum was open to anyone and
everyone, welcoming visitors with newly organized specimens. The
display was organized in such a manner that the audience started their
tour with more familiar information and advanced into less familiar
displays, thus learning through the progression and accumulation of
information. Many other museums followed this tactic, showcasing
their collections in a similar approach.

Cabinets Today

Today, there are many innovative sculptures, assemblages, and

installations that have been based on the original idea of Cabinets of
Curiosities. For example, in 2006 the Contemporary Craft Society in
Pittsburgh showcased Cabinets of Curiosities, a traveling exhibit that
featured a collaboration between the Wood Turning Center and the
Furniture Society. This strange union was meant to inspire artists of
different disciplines to produce something challenging and out of the
ordinary. While the artists utilized techniques of their specialty such as
wood turning, furniture making, glass blowing, casting or pouring
metal, and more, they were required to address the function and
meaning of the original Cabinets of Curiosities of the 16th-18th
centuries. What made this exhibit so fresh, inspiring, and provocative
was the magical marriage between mediums, styles, concepts,
techniques, and materials, proving once again that collaboration is an
excellent recipe for art. Among the 16 pieces on display, the use of
color, shape, line, value, and texture were challenged in every way.
While the three-dimensional wonders contained some type of cabinet
appearance or function, they were also magical sculptural installations
that revealed the artists' vision.

Take for example Cirque de Cabinet (2003), a witty and humorous

collaboration between Michael Brolly, John Biggs, Zac Robbins, Chris
Coggiano, Tony Delong, and Lynne E. Brolly. While this work started
as a slightly different creature, in the end it morphed into a friendly
snail monster sitting in a Buddha position atop a nail-covered
pedestal. At first, this bizarre alien looks quite simple, but in reality it
has many hidden functions, secrets, and surprises which are the
curiosities of this cabinet. For instance, the yellow legs of the creature
are actually a door that opens to reveal small jewel-like forms nestled
in a secret compartment. Within a mouth-blown glass belly lives a
programmed bead-covered character that moves in response to the
movement of approaching viewers. A sensor inside the nose of the
yellow sculpture also reacts to surrounding motion by moving the
head in the direction of onlookers. The eyes express excitement by
winking and looking in different ways. This is not just an imaginative
and masterfully crafted work; it is a highly interactive piece that
commands the viewers' attention. As they approach, it immediately
becomes animated and ready for a friendly correspondence.

Jack Larimore and Stephen Hogbin created Seeds of Curiosity:

Staples of Transformation (2002)with a philosophy that the contents
and the shell of the cabinet are interconnected in many ways. This
idea is translated in their cabinet where a pod or a tulip bulb cradles
eight shelves, each supporting a miniature glass bottle filled with
cereal seeds. A metal stem, with an arrangement of overlapping lines
evocative of leaves or petals, grounds the work, and provides stability
and power to a delicate flower. Two panels of glass divide the
cabinets, adding structure and order to an already organized interior.
The Fantastic juxtaposition of organic and geometric shapes is
reminiscent of the previously discussed artists where unlikely
relationships were formed through unconventional unions. The seeds
in each bottle differ, symbolizing the beginning of life and its
connection to outside sources such as rain. Only after opening the
cabinet does the seed sprout, revealing to the public its secrets.

With bold experiments such as the traveling exhibit of Cabinets of

Curiosities, dedicated collectors, and traditional Kunstkammer, three-
dimensional art has a lot to offer. By following in their footsteps with
our own collections and cabinets, we will make our contributions to
history. Possibly thousands of years from now somebody will be
examining our works, wondering about its meaning and purpose.

Cabinets Online
Eagerly waiting to surprise and welcome new visitors, The Royal
Danish Kunstkammer retains 250 objects of the
original Kunstkammer founded by King Frederik III. This
extraordinary Cabinet of Curiosities may also be entered and explored
virtually, allowing viewers to closely examine each marvel while sitting
in front of their computer. The Kunstkammer also allows anyone to
create their own collection of curiosities or an exhibition online. This
interactive, virtual Kunstkammer creates a bridge between past and
present, merging the old with the new. It is an amazing opportunity to
learn about the cabinets, their history, contents, owners, and
collectors and then react to them by producing personal
virtual Cabinets of Curiosities.

http://www.museumsandtheweb.com/mw2002/abstracts/prg_17000068
6.html

Another extremely interesting and important modern day collection of

curiosities is the Museum of Jurassic Technology located in Los
Angeles, California. It was found to provide research for the
institutions and education for the general public. The museum
contains many unique possessions, a priceless jewel of the modern
day. http://www.mjt.org /.

The Mutter Museum in Philadelphia can be seen as a Kunstkammer of

scientific specimens. It originally belonged to Professor of Surgery
Thomas Dent Mutter. In 1858, Mutter donated his collection of
extensive matter to the College of Physicians of Philadelphia. With
more than 20,000 objects, the museum owns many rare possessions
of anatomical and pathological models cast of various materials,
preserved organs, skeletons, medical instruments, photographs, and
prints. Walking through the displays of the museum makes one feel as
though they have traveled back in time.

Influential Artists: About the Artists

Many contemporary artists utilize collecting as a tool for generating
artwork and brainstorming. For these artists, found objects gathered
over a period of time possess power, mystery, and magic. They are
treasures waiting to be brought to life through wit, creativity, and
experimentation. Collecting is a crucial step for the artists in the
process of generating ideas and transforming them into personal
expressions that speak to the viewers. Similar to the collectors of
curiosities of the 16th and 17th centuries, modern day artists are also
curious about their discoveries, treating their finds as priceless
possessions. The act of collecting for many artists involves searching,
digging, and probing through layers of dirt, boxes, clothes, and more.
It may be likened to an act of excavation. Artist collectors are like mad
archeologists on a mission to locate and attain something
extraordinary. While to us their acquisitions may seem like
meaningless junk, it is crucial to understand their process of collecting
in order to appreciate and celebrate their work entirely. Recall the
Readymades of Marcel Duchamp who incorporated found objects into
installations and sculptural pieces. A similar approach may be found in
Pablo Picasso's collages and assemblages. These unlikely
juxtapositions evoke a sense of wonder, encouraging viewers to draw
their own conclusions from each work. Contemporary artist collectors
follow this practice, allowing us to step into their private world of
searching and discovering.

Joseph Cornell, Andy Warhol, and Mark Dion were passionate

collectors. Their collecting may be described as obsessive. Dedicated
collectors, they scouted their surrounding environments for new
inspirations which they bring to life in their work. Collecting is a way
for these artists to organize their thoughts and to brainstorm. It fuels
their imagination and energy, resulting in incredibly innovative works
of art. While their presentation of collected matter is personal, it may
be compared to the Cabinets of Curiosities in its meaning and
relationship to the artist and the viewers. Even though their collections
and final products are quite different, there is a common thread
present in all of them. They are diaries that speak to our senses and
tell us about the artists' lives, views, memories, and experiences.
 

ntroduction
Collecting is an important part of many people’s lives. For some
people collecting is a hobby. For others, collecting is a passion, an
obsession, and a way of life. Collections may be personal,
professional, or institutional, each type unique and versatile in its
own way. For some, collecting means gaining peace of mind, an
escape from the mundane world, and entry into a world of wonder.
For others, collecting is a constant treasure hunt full of anticipation
and excitement.

Purpose
By producing a Cabinet of Curiosities that displays your personal
collection, you will not only learn about collecting and cabinets, but
you will have a creative opportunity to demonstrate and
incorporate your understanding of key concepts and techniques
from across the course. In a brief Artist Statement, you will
describe the idea behind your artwork, your medium, process and
the overall intentions.
8.
Goals & Objectives

Prior to starting this assignment, you should have completed

all of the following:
2. Personal Collection Online Readings & Artist Features
3. Personal Collection Quiz
4. Personal Collection Demonstration Video
After completing this assignment you will have
1. Created a unique cabinet of curiosities that displays your
personal interpretation of collecting.
2. Demonstrated your ability to explain your idea, medium and
intentions in an Artist Statement.

Steps to Completing the Personal

Collections Assignment

To complete the Fantasy and You Assignment you must

complete all the following:
• View Demonstration Video
• Read Assignment Rubric
• Create Your Artwork
• Write an Artist Statement
• Submit Assignment
• Peer Assessment

Directions for Artwork Creation

In this assignment, you are to create your own original Cabinet of
Curiosities that contains a personal collection representative of
you and everything that you have learned thus far. While the
cabinet and its contents should be about you, they must also
demonstrate your understanding of the artists examined and the
original Cabinets of Curiosities. When creating your cabinet,
consider the intentions, materials and philosophies behind those
works and think of a creative approach to utilizing them, while also
making your piece personal and unique. For instance, look closely
at the contents of the 17th century Cabinets of Curiosities and
modernize them to reflect today’s interests and possible
wonders. Your selection may be humorous and unexpected. Don’t
assume that your finds must mimic the rare collections of the
Cabinets of Curiosities. You can utilize just about anything and
make it artistic, clever and personal.

1. Begin by determining the main idea behind your personal

collection and cabinet.
2. Gather objects representative of who you are and of your
interests. These objects may be a mix of artificial and natural
matter based on the traditions of the original cabinets.
Selected objects may consist of your favorite childhood toys,
meaningful photographs, unique knick-knacks, bizarre
specimens and anything else interesting and significant to
you.
3. You are not encouraged to use Photoshop to create your
image (just to crop/resize it).
4. After collecting objects for your personal collection, decide
how you will construct your cabinet. While any container or
receptacle may work, such as a shoebox, a jewelry box, or a
cigar box, try to think outside the box! A cabinet does not
 have to be rectangular. Whatever three-dimensional cabinet
you choose, keep in mind the importance of craftsmanship.
Covering the original surface (exterior and interior) with
fabric, paper, plants, seeds, glass are just some of the
options. You can also paint, stamp, burn, stain or collage it.
Leaving your cabinet in its original state might appear
unfinished and impersonal, unless that tactic is part of the
statement you are making.
5. To help you with the brainstorming process, you can create
several sketches to decide on the best way to compose your
collection. The display of your objects must demonstrate a
relationship between the inside and the outside of the
cabinet.
6. Be sure to watch the “Personal Collection Demonstration
Video”.
7. Construct your cabinet. Hot glue, white glue, thread, string,
wire, ribbon, and nails may be helpful binders.
8. There is no size limit for this art piece, so if your cabinet is
small, make sure that it has a variety of miniature images
and objects. Create a focal point inside the cabinet—
something that will draw the viewer’s attention. You can do
this by applying scale, color, shape, or texture to the focal
point.
9. Avoid placing items such as cell phones, iPods, beer bottles,
keys, CDs and objects of similar nature. Give this final art
piece some extra thought.
10. Please remember that you are not asked to approach this
assignment literally, thinking that you have to own an actual
collection of objects in order to complete it successfully.
Consider creating a collection out of natural objects you find
outdoors or simple knick-knacks you find at home or at a
thrift store. You can make up a story about their function
and purpose and even make up a story about yourself as a
collector from past, present, or future. For example, you can
find rocks that vary in size and shape, paint them different
colors and "invent" their meaning. This can make for a very
inventive and unique approach to this assignment. You can
 make dolls out of twine, construct shapes out of paper or
play dough, etc. The possibilities are endless!!! You can still
use some family heirlooms in the work if those are important
to you, but it is still essential that your Cabinet of Curiosities
is not just an installation of objects. It must convey a
handmade quality which can be achieved by painting and
texturing the cabinet, integrating some handmade objects,
etc.
11. Images to submit: Photograph the front of your closed
cabinet (1) if applicable, front of your open cabinet (1),
two (2) detail images (where you zoomed in on a
provoking or significant part of the piece). Total of 4
images. You may submit more angles if necessary (such as
back and sides).
12. Edit/adjust/crop your images to meet the following
standards: Maximum image size – 1024 X 768
13. Choose an appropriate and meaningful title for your artwork.
***For those of you interested in approaching this assignment
digitally – that is also a possibility. Whatever medium you select to
tackle this assignment, please remember to have fun and push
yourself creatively.***

Art Elements & Techniques

If you don't really have any experience working with various art
mediums, you may want to visit the Art Elements & Techniques
videos from Week 1. There you will find a gallery of videos that will
guide you through using a variety of art mediums and they will
explain various techniques on how to use them.

Some videos and resources you may find helpful for this
assignment are :
• All of the Art Elements & Art Techniques Videos
• Especially: “Color Media Techniques: Acrylic Paint, Watercolor
and Colored Ink”, “Using Pastels”, “Proper Cutting
Technique” and “Using Different Types of Glue”
• Personal Collection Demonstration Video
• The Photography Guide (PDF)

Directions for Writing an Artist

Statement

An Artist Statement is a brief, but specific explanation of your

artwork in which you address the what , the why and the how. It
should be at least 100 words long, but you are always welcome to
write more. The more information you provide within your artist
statement, the better your audience will understand your
intentions as an artist. Please use complete sentences along with
grammar and spell-check. You can defer to the vocabulary index
to help you with identifying and utilizing visual arts vocabulary that
may be relevant to your statement.
Please address the following in your Artist Statement:
1. Explain your process (medium and technique). How was it
made? Which art materials and approached did you use and
why?
2. Describe the idea behind your artwork. What story or message
does it get across? What does it mean to you?
3. Why did you create it? What are your reasons for creating that
specific art piece? What do you want your audience to feel and
think while observing it?