Abstract

Using the Costume and Textiles Department of the Museum of Art at the Rhode Island School of Design (RISD Museum) as a case study, this article examines the history and current practices of collections-based work and care through the lens of Andy Warhol’s seminal museum-artist intervention exhibition, Raid the Icebox I. The study demonstrates the crucial need for museums to introduce empathic and transparent ways of working in storage, as well as engaging audiences with collections not on view in exhibition galleries.

Authored by RISD Museum curatorial and conservation staff, the case study hinges on the idea that museum storage facilities are not static places, but rather living, constantly-changing organic spaces that receive and require active care and attention. They are places that are filled with activity and in continual flux—always in a state of becoming, especially as mistakes, flaws, and historical biases are faced and confronted.

摘要

本文以罗德岛设计学院（RISD 博物馆）艺术博物馆的服装和纺织品部为案例研究，通过安迪·沃霍尔开创性博物馆的视角审视基于收藏的工作和护理的历史和当前实践-artist干预展览，袭击冰箱我。该研究表明，博物馆迫切需要引入同理心和透明的存储工作方式，以及让观众参与展览画廊中未展示的藏品。

该案例研究由 RISD 博物馆馆长和保护人员撰写，其理念是博物馆存储设施不是静止的地方，而是生活的、不断变化的有机空间，需要积极的照顾和关注。它们是充满活力和不断变化的地方——总是处于不断变化的状态，尤其是在面临和面对错误、缺陷和历史偏见时。