Here’s a little sneak peek the folks in LMU’s University Advancement division put together for us.
Here’s a little sneak peek the folks in LMU’s University Advancement division put together for us.
It’s called “Lincoln Log,” a series of conversations with Lincoln scholars. They’re also uploading the interviews to Youtube. Here’s the first episode, featuring David Blight and his work on Frederick Douglass.
The Union Light Guard was an independent cavalry unit organized in late 1863 by Ohio Gov. David Tod to serve as Lincoln’s military escort and bodyguard. Here’s one veteran’s account of a memorable Sunday morning inspection:
Tad was present, dressed in the uniform of an officer, and accompanied Captain Bennett during inspection with the gravity of a veteran. Inspection over, Captain Bennett took position in front of the company to deliver his usual scolding. Tad stood by his side. The Captain proceeded to criticize sharply the condition of the quarters. He described the manner in which they should be kept and said: “The condition of the quarters is disgraceful. Instead of being kept as they should be kept, they look like”——At this point Tad’s shrill voice rang out, completing the sentence in a manner more pungent than elegant and quite unprintable. The effect was ludicrous. The sternness of the Captain’s face relaxed in a broad smile, as he turned on his heel, while the company, regardless of discipline, burst into unrebuked laughter.
The Lincoln community is mourning the loss of Dr. John Sellers, who passed away on October 6. He was a longtime manuscripts specialist at the Library of Congress, where he managed and expanded that institution’s massive collection of Abraham Lincoln papers. His work to make Lincoln and Civil War documents accessible via electronic media and printed guides constituted an incalculable contribution to the study and appreciation of American history. He curated landmark exhibitions, organized symposia, and assisted authors of some of the most acclaimed books on Lincoln and his era.
One of his most important legacies was his willingness to advise archives, museums, and public history organizations engaged in the collection and study of Lincoln and Civil War material. LMU’s Abraham Lincoln Library and Museum and the Abraham Lincoln Institute for the Study of Leadership and Public Policy are two of the many historical entities that benefited from his expertise and generous spirit.
We meant total—from the roof down to the floor.
The only thing we haven’t moved is our plaster copy of Paul Manship’s Hoosier Youth statue. It’s too darn big to pack up. Instead, the construction crew built a crate around it to keep it safe and sound while the work’s going on.
Outside, the new elevator shaft is taking shape. On either side will be the new galleries, learning lab, collections processing room, and restrooms.
As for exhibits, we’re hard at work on those, too. The Kincaid Gallery we opened last year will be back, but all the other galleries will have new stuff. The National Constitution Center exhibit Lincoln, the Constitution, and the Civil War will be moving downstairs, this time with some fantastic objects from our own permanent collection. Upstairs will be a new display of Civil War weapons, uniforms, and medical artifacts. We’re also developing a new exhibit on Lincoln’s final days. And, of course, we’ll roll out brand new permanent exhibits in the spaces that are under construction—one on the ways Americans have remembered Lincoln, and another on the history of our parent institution.
The folks at WBIR stopped by on Saturday to cover our closing event and the upcoming expansion. Enjoy!
This week is your last chance to visit the Abraham Lincoln Library and Museum before we close for our big renovation and expansion project. We’re throwing a celebration on Saturday, July 20 from 10:00 to 6:00 with free admission, refreshments, a special glimpse inside our manuscript vault, and major discounts on items in our gift shop. If any of you folks are within driving distance of the Cumberland Gap area, I hope to see some of you there.
And I definitely hope to see lots of you visit the expanded museum when this project is done. We’ve got big changes in store, both inside and out: brand new exhibits on Lincoln in memory and the history of Lincoln Memorial University, some updates to our current gallery spaces, a learning lab, improved visitor access, a new front entrance, outdoor experiences, and more. It’s going to take quite a while to get it all in place; we’ll probably reopen in late 2020. But it should be well worth the wait.
Glenn David Brasher paid a visit to the newly opened American Civil War Museum in Richmond. His review is mostly positive, with a notable caveat:
But here is the main problem: the museum is making great effort to tell a more inclusive and diverse narrative of the war, and the written interpretation does so. But the artifacts they have now are just not yet helping them tell that story.
Yes, you won’t find many Civil War museums with an audio and visual presentation telling the story of an enslaved girl that was brutally whipped for allegedly poisoning her owner, or that displays slave shackles, or that interprets the post-war years by featuring a Reconstruction era KKK hood and garment.
The African American story, as well as the Union story, are both featured throughout the exhibits. There is also homefront and gendered history, but with few exceptions (like the ones just mentioned) the artifacts packed behind the glass cases are overwhelmingly the treasures from the old Museum of the Confederacy.
The battles themselves get shunted away to high tech electronic video boards that visitors can interact with, which is fine, I’d rather see visitors get out to the battlefields themselves if that is what they are looking for. But theoretically that means the museum should be focused on social and cultural history, and most of the interpretation is, but yet the most attention-grabbing relics are largely battle-related accouterment from southern soldiers and officers.
I assume this dissonance between narrative and artifacts is due to the nature of the ACWM’s collection, much of which probably consists of militaria from the Museum of the Confederacy. When an institution’s collection has been accumulating for decades, it takes time for the acquisitions to catch up with changes in academic or interpretive trends.
We’re actually wrestling with similar dilemmas at the Abraham Lincoln Library and Museum. We’re getting ready to break ground on our big expansion and renovation project, which will in turn enable us to make further changes to our permanent galleries. The biggest of these will be a new exhibit on Lincoln’s presidency. One of the themes we feel compelled to explore in this exhibit is the transformative nature of that presidency—how Lincoln’s use of presidential power changed the office, the nature of the Civil War, and the nation.
Like most museum collections, ours has its particular strengths and weaknesses, and not all of our strengths play to the content we want to include in the new exhibit. For example, we’ve got a lot of great artifacts from, say, the election of 1860 and Lincoln’s funeral, but precious little we could use to trace Lincoln’s evolving position on emancipation from spring 1861 to summer 1862. (I mean, we’ve got a ton of popular prints and cartoons illustrating American responses to the Emancipation Proclamation, but not much that shows Lincoln’s internal reasoning for changing a war for the Union as it was into a war for a new birth of freedom.)
Of course, we’ve got ideas to meet these challenges. After all, figuring out creative ways to convey historical information through exhibits is part of the job. But when we finally raise the curtain on our new permanent exhibit, there will inevitably be an imbalance in the number of artifacts per narrative section.
It’s a bit frustrating, since building narratives out of objects is what museums do—or at least it’s the thing they do that other for of communication don’t. But this is a dilemma that I think museums professionals are going to deal with more and more. Expectations for more well-rounded and inclusive narratives will continue to grow, and older institutions will continue to transform from showplaces for relics into places that more fully reflect the breadth of their respective disciplines.
As I’ve mentioned before, we’re getting ready for a pretty big construction project here at the Abraham Lincoln Library and Museum. After adding some new exhibit space, a kids’ learning lab, a programming and a collection processing room, and making other structural improvements to the building, we’ll move to the most exciting renovation phase: new exhibits on Lincoln’s presidential years in our second and third galleries. Along with an overhaul of our Civil War displays, this will complete the transformation of our permanent galleries that we began last year, when we installed a new exhibit on Lincoln’s life before the presidency.
The first step in creating a new exhibit is deciding how you want to organize the material. We knew from the outset that we’d start out with his nomination and end up at Ford’s Theatre, but we didn’t plan on a strictly chronological path between the two. Our early outlines took a more topical approach, with sections on emancipation, Lincoln as commander-in-chief, civil liberties under his administration, his family’s private life in the White House, and so on.
But when you’re dealing with the Civil War and Lincoln’s presidency, there are points where a topical approach mucks things up. As James McPherson noted in his preface to Battle Cry of Freedom, you run into problems when you try to break the Civil War era into self-contained subjects without recourse to narrative or chronology. Political, military, economic, and diplomatic events were inextricably interrelated. Lincoln’s decision to issue the Emancipation Proclamation was all tangled up with the course of the war, from Union reversals in the summer of 1862 to Lee’s check at Antietam that fall. Similarly, it’s hard to explain Lincoln’s re-election without making sense of the military situation in 1864.
Lincoln’s own development also calls for a more chronological approach. His attitudes toward the war changed so much between 1861 and 1865 that it’s difficult to speak of “Lincoln’s policy on emancipation” or “Lincoln’s policy on Reconstruction” apart from the specific crucibles that shaped those policies. One of the big ideas we want to convey is how the war transformed his thinking, and how he himself became a transformative agent as his willingness to wield presidential power shifted.
Lincoln claimed that events had controlled him rather than the other way around, and whether that’s accurate or not, the fact that he believed it means you have to take those events into account when you’re trying to explain why he did what he did.