The value of archives and authenticity in exhibitions of visual culture

Abstract

As exhibitions of visual culture gain importance in the programs of art museums, so does the need for display of original archival material. Consisting most often of preparatory material for works such as films, books, or theater plays, this material was never intended for display and is usually not considered finished work in its own right. However, as often the only original handmade material by the author or artist, archival material of this nature holds tremendous potential. Whether handwritten notes by film director Lars von Trier or the millions of preparatory artworks in the archives of the Disney Animation Research Library, this material represents a crucial entry point to the understanding of 20th-century art and visual culture. It also represents substantial financial value as a commodity, since it may be toured globally in exhibitions. In this chapter, I will touch upon the unique qualities, limitations, and the common business model related to original archival material as source material for exhibitions. My experience is based on my curatorial work as a museum director at the Kunstmuseum Brandts from 2013 to 2019 and currently as director of the Artcenter Spritten in Northern Denmark (due to open in Spring 2024). With a closer look on two key exhibitions, namely the Disney – Art of storytelling (2016) and Lars von Trier – The good with the evil (2017) together with notes on the overall curatorial strategy at the Kunstmuseum Brandts and the Artcenter Spritten respectively, I will highlight how the use of original archival material presented a number of interesting possibilities and an advantageous business opportunity for its lenders.