Exhibit Reviews “MADE IN MAINE” AT THE MAINE STATE MUSEUM, AUGUSTA DUNCAN HAY On October 20, 1985, the Maine State Museum opened “Made in Maine,” an exhibit on 19th-century manufacturing that represents the institution’s largest research, collecting, and exhibition undertaking to date. For four years “Made in Maine” consumed nearly all the energies of the museum’s staff, along with $400,000 in construction costs. However, payoffs for citizens of Maine, the museum commu nity, and scholars of industrial history more than justify this initial cost. The exhibit superbly demonstrates the variety, pervasiveness, and duration of manufacturing in the state, broadening outsiders’ perceptions of Maine as simply a region of forests, seacoast, tourists, and potatoes. When contemplating a major exhibit some years ago, the Maine State Museum staff took stock of its historical collections. As at other state museums, the bulk of the holdings represented goods manufac tured within the state’s boundaries. Logically, Maine-made goods and tools of Maine trades became the basis of the new installation. That effort, in turn, further focused the institution’s collections and research activities on artifacts of industrial production. Curators worked aggressively to add to a somewhat eclectic collection. Pros pects for immediate exhibition encouraged the acquisition of large objects—a cupola furnace, power looms, carding machines, a spin ning jack, and other artifacts that would strain storage space and might have been passed by under other circumstances.' Beyond a strong collections base, clever design and innovative use of space contribute to the exhibit’s effectiveness. After being issued a guidebook and seeing a thoughtful introductory selection of artifacts and historical images that show the nature and variety of Maine manDr . Hay is curator of industrial and maritime history at the New York State Museum in Albany. 'Paul Rivard, “Made in Maine: A Case Study in History Museum Exhibit Develop ment,” InternationalJournal ofMuseum Management and Curatorship 7 (1988): 330.© 1990 by the Society for the History of Technology. All rights reserved. 0040-165X/90/3103-0005$01.00 456 “Made in Maine” at the Maine State Museum, Augusta 457 ufacturing (see fig. 1), visitors encounter a series of descending ramps that lead past reconstructions of a dozen work environments. These industrial equivalents of period-room settings are supplemented by cases of Maine-made goods. The ramps run down in a squared spiral around the building’s perimeter, with workplaces and cases against the outside walls. A waterpowered woodworking shop, shown manufac turing wheelbarrows, shingles, and barrel staves, rises through all three levels of the spiral’s open center. Water issuing from a turbine, sunk in a wheel pit some 16 feet below the lowest floor level, appears to drive shafts and belts throughout the entire structure. Work-space reconstructions are conspicuously underlabeled. Rather than clutter exhibits with text and diminish their veracity as recon structions, the museum’s planners compiled object labels and linked them to drawings in the guidebook.2 Only a spare and very general introductory paragraph is included in each case. “Made in Maine” is less an exhibit of products than of their manufacturing environments. Goods made by Maine workers are in, and adjacent to, the dozen discrete productive settings. In an attempt to have particular reconstructions stand for entire classes of manu facturing, work environments are grouped in the categories of home, shop, mill, and factory—an arrangement similar to that used by Victor S. Clark in his 1929 History ofManufacturers.3 In home produc tion, represented by textile work around an 1820 kitchen hearth and outwork garment production in an 1880 parlor (fig. 2), the emphasis is on manufacturing as an integral component of domestic activities. Shop settings reflect the segregation of manufacturing and home life and the importance of benchwork. They are typified by a reconstruc tion of John H. Hall’s 1816 gun shop, a transplanted section of Bangor’s Thomas Fishing Rod Company, and generic representations of cabinet, blacksmith, and shoe shops. Mills and furnaces are defined in this exhibit as specialized structures that essentially serve as single-purpose machines for the production of a particular class of products. An 1830 wool fulling and finishing mill and an 1890 cupola furnace from...
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