Kaiti Hannah
There is an ongoing debate in the field of public history regarding the acceptability of taking photographs in museums. Though history museums seem to be leaning more towards allowing or even actively encouraging photography in their galleries, there are many who object to this phenomenon. Open up any think piece about Millennials and you’re sure to see complaints about those of this generation (of which I am a member) being glued to their phones and constantly taking selfies. Selfies in most history museums seem to me to be fairly unobtrusive. Usually it only takes a few moments for people to pose in front of an interesting scene or artefact and snap a photo or two of themselves or a group of friends.
Many museums are leaning into this. Some museums (including “made-for-Instagram” museums like the New York Museum of Ice Cream or California’s Museum of Selfies), have dedicated “selfie areas” where visitors can pose in or around replica artefacts, try on period costumes, or pose with mannequins representing important historical figures. Photography in many museums is seen as a way to attract and engage visitors (especially younger visitors) and make them active participants in the museum instead of passive observers.
Photography in art museums has been discussed repeatedly, but debates have focused on the damaging influence of flash photography, the interference of photographers on the aesthetic experiences of visitors, copyright concerns, and the concern that those who photograph art see it through a lens, rather than with their own eyes, lessening their own appreciation. But history museums have their own set of issues to grapple with. There may not be such issues associated with many museums or heritage sites, but what about somber or traumatic sites of history? The Anne Frank House Museum in Amsterdam, for example, explicitly bans all photography out of concern that cameras could interrupt visitors’ emotions in the site. Their website also lists preservation of the building as a concern. But certainly, in a place closely tied to the Holocaust, the emotional experiences of visitors should be considered.
Consider sites such as the Auschwitz-Birkenau State Museum. Continue reading