A 2018 Arts Council National Survey indicates, in relation to arts sector engagement, that ‘lack of interest comes up as a big barrier in many other pieces of research we’ve seen over the years… You can’t simply re-market the same product and experience to people and hope they’ll come. It requires a deeper examination of what you do, and who it is for’. As a Junior Sophister English Studies student at Trinity, I took part in the module ‘Exploring Heritage Collections’. As part of this module, I had the opportunity of an internship with Trinity’s Old Library, where I worked with the Research Collections team. I considered the role of digital library exhibitions, and previous Long Room exhibitions which resonated with locals and the wider community. Trinity’s Old Library exhibitions are intended to reach as broad an audience as are interested in the material. The aspirations of Trinity’s Old Library for greater outreach and inclusivity are however restricted by funding, human resources and the pressure of current priority projects relating to the redevelopment of the Old Library building. Modern exhibition technology also shapes the way in which Trinity Library exhibitions are used, and the ways in which they could evolve.
Digital Exhibition Reflections
Digital library exhibitions showcase collection highlights through a thematic curatorial lens, which distinguishes an online exhibition from the library function of providing access to digitized materials.
Platforms currently in use for digital library exhibitions include Omeka S, marketing agency websites, Squarespace, and Google. The more engaging digital exhibitions use storytelling technologies such as ArcGis, Storymap to create interactive maps and timelines, which facilitate a depth of academic information. The recurring topics addressed by Library exhibitions of the NLI and Irish Universities are centenary events, Director’s Cut’s from collections, and collection highlights. In my opinion, the shortening human attention span which research suggests is eight seconds, is an enormous bulwark to engagement with digital exhibitions, as they compete with the multitude forms of digital resources and entertainment.
A notable digital exhibition from the NLI is the digital edition of a physical exhibition, ‘A Modern Eye: Helen Hooker O’Malley’s Ireland’. The high-resolution images and thematic curation of the exhibition give a strong impression. It is also an archive of a woman’s work, as opposed to a traditionally male-centric historical focus. Photography lends itself to digital exhibitions as an entirely visual medium. The digital space invites further exploration of the artist’s work from other internet resources. Digital exhibitions also require access to a device and internet access and skills. Digital exhibitions also carry the risk of losing viewer attention, while visiting a physical exhibition space requires commitment. Although not collections based, a digital exhibition available from DCU is ‘Engaging with Sources: A Case Study in Humanities Research’, is made using ArcGis technology to incorporate interactive maps which create a sense of movement and progression. This technology is easily applied with similar impact to collections-based exhibitions, as an indication of the possibilities for in-built exhibition interactivity, which provides a significant density of information.
The strength of this exhibition is that it provides insight into the Humanities research process. Perhaps future digital exhibitions could incorporate images or insights from the in-person exhibition where relevant, demonstrating the exhibition installation process and how the material was presented. Research suggests consistent public interest in the ‘behind the scenes’ of heritage institutions, in the manner of documentaries, social media and in-person tours. I believe it would engage visitor curiosity and entice serendipitous discovery of digital exhibitions if the digital record incorporated retrospective photographs, reflections from curators and visitors, and insights in the curatorial and conservation work which has made the exhibition possible. In my opinion this would focus on the human experience of heritage sector workers, and visitors, which would I believe help to bring the materials to life, showcasing the impact of the exhibition itself. One of the highlights of my internship was experiencing exhibitions which resonated with me personally. This also served to remind me of the key human factor of library exhibitions, as a display of human creativity, intellect and progress. Therefore, I began to view library exhibitions as a celebration of human endeavor, which ought to celebrate the breadth of human endeavor across society. Democratizing the exhibition and curation process in this way may also, in my opinion, encourage groups outside the library sector to engage with library special collections, and hopefully to find themselves represented in some way, or at least find something to resonate with, in the collections.
Trinity Library’s digital exhibitions have evolved from the era of Flash presentations to Google Open Gallery (now obsolete). They are now presented through the Google Arts and Culture platform and Microsoft Sway. This decision reflects the ease of use of these platforms for diverse exhibits intended for ‘as broad as possible’ an audience, however curators express concern around the longevity of digital exhibitions. Technological obsolescence is a recurring issue for digital exhibitions. It appears that the best solution would be in-house, without reliance on an external platform. A project completing in 2024 in TCD, entails the preservation of content which is ‘born digital’, specifically an archive of organizational emails. This archival point of reference reflects how library exhibitions must also facilitate the needs of the increasingly digital modern world. However, simple digital exhibitions are at risk of resembling well-presented websites when compared to the other extreme of in-person multi-sensory experiences. The value of digital exhibitions lies in their highly visual format, accessibility internationally, and as a format which can afford to include academically and textually dense material which may be overwhelming to visitors in an in-person exhibition.
Libraries seem to have difficulty tracking overall engagement numbers and the impact of engagement, in relation to digital exhibitions. Digital exhibitions in general appear to often form as a digital offshoot of physical exhibitions. Digital library exhibitions may be suffering from the lack of ambient and multi-sensory engagement which is so impactful in in-person exhibitions. There is a distinction between library’s digitized resources and digital exhibitions, and indeed virtual museums, a phenomenon I would have liked to explore further. I believe that the absence of a feedback system for digital exhibitions is detrimental to improving their impact and reach. It is likely that re-evaluating the use of online exhibitions would give a pause for reflection. If they function best as a record of physical exhibitions, they could alter to include aspects of the physical exhibition experience in future renditions.
Reflecting on the Reach of Library Exhibitions
The Old Library of TCD houses both the Book of Kells exhibition, and the Research Collections which are regularly displayed in the Long Room. It serves a number of user groups, including academics, tourists and students. Alongside its academic outputs, an underutilised asset of the Old Library is its ability to facilitate collaborations with groups locally, and in the wider community. In general, barriers to engagement with library exhibitions and museum spaces include physical and sensory accessibility barriers, perceived expectations around language, physical appearance, posture and accents. The physically walled campus is recurringly highlighted by staff members as a possible psychological bulwark to fostering a sense of inclusion. I believe that for an exhibition to be as impactful as possible, there must be personal or national resonance with the material for the visitors, and a conscious effort toward inclusion.
With the library collections, inclusivity of content and engagement is led by the material itself. Previously, exhibitions concentrated on popular topics such as centenary events, and more recently have focused on academic endeavors in Trinity such as the ‘Shakespeare the Irishman’ exhibit. There is room to grow in terms of the diversity of exhibition content. While publicly funded national libraries strive for maximum inclusivity, TCD Library’s exhibitions seem to have evolved in a different way. While ‘serendipitous’ collaborations with community groups are the current standard, ‘the will is there’ to invite relationships with local and diverse groups and individuals, on common interest projects. Relationships have been formed previously between the library and communities interested in the collections. Responsibility is felt in the Old Library for facilitating the public’s access to internationally important archives and special collections. The diverse interests of the public manifests in part through interactions with the Long Room exhibitions, and other library collaborations.
The current Book of Kells exhibition employs a ‘reactive rather than active’ approach to engaging with local and disadvantaged groups. There are a number of reasons why local Dubliners may feel alienated from visiting the Book of Kells exhibition. Generally, the requirement to pay for a ticket is limiting for many groups. I believe paid ticketeting is a barrier to visitors not only financially, but also because it is incongruent with the public’s sense ownership of national heritage. However, it also raises the question of whether the exhibit would see such high numbers of visitors if it was free of charge, or whether this would ‘devalue’ the exhibition in the eyes of prospective visitors. Data suggests that Dubliners visited the exhibition more during the Coronavirus restrictions of 2020-21 and are also the most represented group during the annual (free) Culture Night events in the Long Room. The Book of Kells exhibition regularly facilitates complimentary or reduced-price ticketing for groups, however this is on a reactionary basis and by request. Some of the groups which have done so in the past include ICA Active Retirement, Open House, schools, women’s groups and carer groups. I believe there is room for further growth in balancing the commercial function of the Old Library with outreach to local and community groups.
Community engagement with the Long Room exhibitions in previous years shows a thread of interest which may indicate further inclusive potential in the future of library exhibitions. The following exhibitions show engagement with non-traditional archival content and visitors. I believe they could be indicative of a framework for inclusivity of topics, visitors, and voices within the archives going forward.
The ‘Trinity Women Graduates Centenary Exhibition, 1922-2022′, the annual ‘TAP Bookmarks Programme’, and subsequent exhibition, the ‘Living in Lockdown: Archives of the Trinity Community in the Covid-19 Pandemic 2020’, each highlight the voices of traditionally under-represented groups in the historical record. ‘Changed Utterly’ was an online resource for 1916 centenary material put together by library staff, which seems to have resonated strongly with a sense of ownership of national heritage among the public and local Dubliners. A 2015 Long Room exhibition ‘The Papers of Louis Lentin’ led to a tour for members of the public who had personal ties to the content of some of Lentin’s documentary work, and some visitors were moved emotionally in the presence of the primary archival materials. Meaningful public engagement, as with this exhibition, are often only anecdotally recorded, at least from what I have observed, which risks the impact of the exhibitions being lost to memory. From reflecting on the process of exhibitions, I believe it is valuable to seek and record feedback from visitors and curators in order that future exhibitions can benefit. I believe systematically recording exhibition feedback would also be a valuable cultural and historical resource.
Reflecting on barriers to public engagement with heritage institutions, I spoke with Oisín Kenny who is the facilitator of the Apollo Project at the National Gallery of Ireland, a Youth Panel who facilitate an impressive scope of events, workshops and involvement with the Gallery. I believe the Apollo Project is a model framework for engaging diverse groups with fresh perspectives and varied needs and skill sets. The Apollo Project aims to give ‘… ownership and a voice to a new diverse, under-represented audience who may feel that the Gallery is inaccessible to it…’. The Apollo Project began as a reactionary effort as part of the school’s programme in 2018, to address an absence of outreach outside academic settings. ‘Give as much as you can and we give back’, is the aim of the project. The strengths of the Apollo Project, which I believe could be incorporated by Trinity’s Old Library, are to prioritise a connection with the community through arts and culture, as a heritage institution of national significance. Engagement with the arts struggles currently due to young people being driven out of the city financially, and by poor public transport access in rural areas. The Apollo Project ensures that collaborative and inclusive efforts are carried forward consistently as part of the Gallery framework.
Conclusion
From my time working with the Old Library Research Collections team, it appears there is a precedent for a broad variety of individuals and groups to approach collections, which could be fostered in the event of available resources. Local historical groups, young people, disadvantaged groups and artists have been shown to engage and respond with such variety to cultural heritage. Collaborative relationships with the community, perhaps invited through social media, are beneficial hugely to the experience of both curators, heritage custodians and the public. Recorded feedback from exhibitions would record these interactions across cultural spaces in Dublin in a way which might inspire fresh directions for collaboration. An examination of the user groups of Trinity’s Old Library, whether academic, visitor, or student for example, shows a potential for greater involvement from external groups in creating responses to the collections. As technology evolves, there are growing opportunities for outreach and connection across institutions, local and national groups, and international connections, by digital means. Optimistically, digital spaces transcend certain physical barriers of transport, ability and dress, and can incorporate language and information resources by the nature of being internet based. The evolution of library exhibitions will hopefully continue to incorporate unheard voices from different backgrounds to what has been traditionally recorded. It would be inspiring to see engagement from a broader variety of community groups and people of different backgrounds engaging with the special collections, particularly as the collections themselves continue to evolve in inclusivity.
Molly Robinson