Why'd They Put That In A Museum?

How do you capture a view of a modern city? Back in 1877, Paris was going through a transformation and the Impressionist artist Gustave Caillebotte documented it with masterful skill in Paris Street; Rainy Day. The city and costumes look old to us today, but viewers in 1877 interpreted this scene of wide boulevards, uniform buildings, and gas lampposts as wholly modern. The artwork is nearly life-size and carefully detailed, which is different from the lively brushwork and soft focus of many of Caillebotte’s Impressionist colleagues. Why is it so famous? What makes it stand out in today's pop culture? Sarah explains the unexpected composition, showing numerous pedestrians walking through a Parisian intersection, all headed in different directions. She discusses how Caillebotte made this painting, developing multiple studies with a camera lucida prism . Listen to this podcast and discover why this artwork is one of the signature paintings at the Art Institute of Chicago. Artist : Gustave Caillebotte (French, 1848 – 1894) Item : Paris Street; Rainy Day, 1877 Details : Oil on canvas, 83 ½ x 108 ¾ in. Art Institute of Chicago https://www.artic.edu/artworks/20684/paris-street-rainy-day This episode is about: Gustave Caillebotte Paris Street; Rainy Day analysis History of Paris Street; Rainy Day (1877) Impressionist paintings at the Art Institute of Chicago How Gustave Caillebotte painted Paris Street; Rainy Day Modern Paris in 19th-century Impressionist art Caillebotte's use of perspective and composition Camera lucida in 19th-century painting Famous paintings of Parisian street life Send us ideas & feedback. © 2025 Why'd They Put That In A Museum podcast hosts Beth Bacon and Sarah Lees.

“Urban Light” shines on LACMA Museum Museum curator Sarah Lees and co-host Beth Bacon answer a listener’s question about the grid of lampposts outside the Los Angeles County Museum of Art (LACMA). This site-specific installation is a popular spot and a common social media background for Los Angelenos. But where did Urban Light come from, who made it, and why? It turns out, the installation is made up of actual, salvaged streetlights that once lit up the local neighborhoods of LA. The varied styles of the poles reflect LA’s decentralized makeup and hint at the city’s car-centric identity. This piece may be playful and fun, but Sarah explains that the artist, Chris Burden, is best known for making vivid, sometimes dark, performance art. For example, for his work called Shoot, Burden arranged for a friend to shoot him in the arm. That work was temporary, but to the delight of Los Angelenos, the immersive, cathedral-like experience of Urban Light is around to stay. Artist: Chris Burden (American, 1946 – 2014) Item: Urban Light, 2008 Details: (size & location) 202 restored cast-iron streetlamps Dimensions: 320 1/2 x 686 1/2 x 704 1/2 in. (814.07 x 1743.71 x 1789.43 cm) Los Angeles County Museum of Art https://collections.lacma.org/object/138700 Time Code: 00:00 Podcast Intro 00:56 Listener Question 04:04 What Is Urban Light 04:54 Salvaged Streetlamps 07:42 Why It Matters 08:38 LA History In Lamps Send us ideas & feedback. © 2025 Why'd They Put That In A Museum podcast hosts Beth Bacon and Sarah Lees.

Beth Bacon and curator Sarah Lees are back for season three of “ Why’d They Put That in a Museum ?” This episode focuses on a listener request that traces back to an archeological site on the island of Crete from way back in 1900. When British archaeologist Sir Arthur Evans excavated the site at Knossos, he invited an artist named Emile Gilliéron (and Gilliéron’s son) to document what they found using watercolors. “Acrobats Leaping over a Bull” is Gilliéron’s depiction of a Bronze age wall painting that was uncovered during the dig. Sarah explains this image’s ties to the Minoan culture, which existed in 3000 BCE, and was named after the mythical King Minos. She discusses how Gilliéron used surviving fresco fragments as a base for the composition, then filled in the parts that were lost over the centuries. Why are the people in the image leaping over a bull? Turns out, bull-leaping was a sport in Minoan culture. How did this piece end up at Harvard? Tune in to the podcast to find out! Artist: Emile Gilliéron and/or son Item: Acrobats Leaping over a Bull (after a wall painting from the Palace of Knossos, Crete, c. 1900 – 1910 Details: Watercolor on paper. 87.63 x 158.75 cm (34 1/2 x 62 1/2 in.) framed: 108 × 179.1 × 2.5 cm (42 1/2 × 70 1/2 × 1 in.) Harvard Art Museums/Arthur M. Sackler Museum https://harvardartmuseums.org/collections/object/291790 Time code: 00:00 Welcome Back Season Three 01:07 Listener Request At The Fogg 01:34 Meet The Bull Leaping Watercolor 04:00 Fragments And Reconstruction 05:46 Knossos And Arthur Evans 07:25 Myths Minos And The Minotaur 11:05 Gilliéron The Archaeological Illustrator 14:50 How Harvard Acquired It 17:00 Why Museums Collect Copies 20:11 Was Bull Leaping a Real Sport? 22:49 What This Artwork Teaches 23:29 Wrap Up And Listener Call Send us ideas & feedback. © 2025 Why'd They Put That In A Museum podcast hosts Beth Bacon and Sarah Lees.

In this final episode of Season 2, hosts Beth Bacon and Sarah Lees discuss their ongoing topic, “Why did they put that in a museum?” by focusing on an artist who is frequently the subject of this question: Jackson Pollock. They examine his masterpiece 'One: Number 31, 1950' which can be found in New York's Museum of Modern Art. They talk about Pollocks techniques and the community he was part of. They muse about abstract art and its common misconceptions. Sarah explains that Pollock's unique approach to painting, moving the canvas from an easel to the floor, was a conceptual leap in Western art. When you really look at his work, it holds a deep intentionality that counters the complaint, “My 5-year-old could do that.” Beth and Sarah also talk a bit about the artist's turbulent life and his fast rise to art stardom which was hastened by figures like Peggy Guggenheim and influential critics and galleries. Why are Pollock’s seemingly chaotic drips and splatters so important in the history of modern art? Listen to this episode of our podcast to find out. Send us ideas & feedback. © 2025 Why'd They Put That In A Museum podcast hosts Beth Bacon and Sarah Lees.

Is bigger better when it comes to art? That’s one of the questions that Sarah Lees and Beth Bacon ponder in their discussion of the life and work of Louise Bourgeois. In this episode of Why'd They Put That in a Museum? , hosts Beth Bacon and Sarah Lees focus on the sculpture Maman , an enormous metal sculpture of a spider. Bourgeois was in her 70s and 80’s when she increased the scale of her art and around that time, her work began to command significant attention in the contemporary art world. The Tate Museum in London acquired the giant spider sculpture called Maman when Bourgeois was 88 years old. This work represents the dynamics of Bourgeois's relationship with her mother. The Bourgeois family ran a tapestry repair workshop in France. When she was a child, Louise's father invited his mistress to live with them, causing Louise to experienced intense and complex emotions. Bourgeois has stated that the spider represents a maternal figure, and represents to her themes of protection, trauma, and familial commitment. During her long career, Bourgeois had many connections to major art movements, without being identified directly with any of them. She was truly one of a kind. What is it like to walk under a 30-foot-tall steel spider? You can try it yourself at the Tate in London or the Guggenheim in Bilbao. Or you can imagine the scenario as you listen to this podcast. Send us ideas & feedback. © 2025 Why'd They Put That In A Museum podcast hosts Beth Bacon and Sarah Lees.

This is the second episode of a two-part discussion of the Why'd They Put That In A Museum podcast. Beth Bacon, Sarah Lees, and guest speaker Christina Burke discuss a painting by Lakota artist Steven Standing Bear. The artwork is a large-scale painting of the Battle of the Greasy Grass, which is also known as Little Bighorn, or the Custer Battle of June 25th, 1876. (In the first part of this two-part discussion, they review the painting in detail.) In this episode, Christina explains the distinction between art museums and natural history museums, noting how historical and cultural attitudes impact the ways Indigenous artworks are viewed and categorized. The hosts talk about the provenance of Standing Bear's painting. This painting was created in South Dakota, moved to various collectors and galleries, and now resides in the Philbrook Museum of Art. The hosts discuss how cultural perceptions and institutional choices impact the way Native American art is displayed and understood. This is the second part of a two-part episode focusing on this extraordinary work of art and its artist. Send us ideas & feedback. © 2025 Why'd They Put That In A Museum podcast hosts Beth Bacon and Sarah Lees.

In this first episode of a two-part discussion, Beth Bacon, Sarah Lees, and guest speaker Christina Burke, discuss a painting by Lakota artist Steven Standing Bear. The artwork is a large-scale painting of the Battle of the Greasy Grass, which is also known as Little Bighorn, or the Custer Battle of June 25th, 1876. Standing Bear was a participant in this battle as a teenager. He became a fine artist and painted this enormous depiction of the battle. Christina Burke, a curator and expert in Native American art, reviews the painting's three main sections in detail: The native American encampment, the battle scenes, and a section showing many horses. With Beth and Sarah, Christina discusses the details of the piece, emphasizing the cultural narratives the artwork represents. They also talk about the historical context of Standing Bear's life, including his participation in Buffalo Bill's Wild West Show. This is the first part of a two-part episode of the Why'd They Put That In A Museum podcast, focusing on an extraordinary representation of the Battle of Little Bighorn. Send us ideas & feedback. © 2025 Why'd They Put That In A Museum podcast hosts Beth Bacon and Sarah Lees.

In this episode of the podcast Why'd They Put That in a Museum, hosts Beth Bacon and Sarah Lees talk about the various elements that enhance the experience of visiting a museum. Museum cafés, movies, and lectures—and even the gift shops! How important are the museum’s offerings around and beyond the exhibits? They highlight themed food recipes inspired by artworks, café designs matching museum decor, and popular exhibits like mummies. They explore how these aspects contribute to making museums more inviting and accessible to broader audiences. Additionally, they touch on how museums are adapting to changing times. Send us ideas & feedback. © 2025 Why'd They Put That In A Museum podcast hosts Beth Bacon and Sarah Lees.

This episode of “Why They Put That in the Museum,” is the second part of a 2-part series about the international sensation Yayoi Kusama. (Please see "Yayoi Kusama, Infinity Mirror Rooms, Part 1," season 2 episode 5 to listen to the first part.) Hosts Sarah Lees and Beth Bacon discuss Yayoi Kusama’s path from being a largely ignored activist artist in her early career to becoming a globally recognized figure by the 1990s. How did she make this change? Listen and find out. With a focus on the work, “Infinity Mirror Rooms,” located at the Broad Museum, they discuss the use of contemporary art to challenge societal norms as well as commercialization. and the creation of exclusive viewing experiences that drive public interest. Today, Yayoi Kusama is a prolific and influential Japanese artist. Her whimsical and playful interactive experiences make Kusama an internet darling. Her bright colors and patterns are easily accessible. Listen to this episode to find the depth beyond the bright lights, desings, and colors of Yayoi Kusama. Send us ideas & feedback. © 2025 Why'd They Put That In A Museum podcast hosts Beth Bacon and Sarah Lees.

Yayoi Kusama is known as one of the most well-known living artists… that is, today she is well known. This is the first part of a 2-part episode that focuses on Kusama;s Infinity Mirror Rooms, particularly 'Infinity Mirror Room—The Souls of Millions of Light Years Away' located at The Broad Museum in Los Angeles. Today Kusama’s vibrant and playful interactive works seem to be “everywhere” from major museums to public spaces, to the internet feeds of trendy influencers. But did you know that Kusama toiled in obscurity for decades before being acknowledged by the art world and adored by millions? In this episode of “Why'd They Put That in a Museum?,” hosts Beth Bacon and Sarah Lees discuss Kusama's long artistic journey and the many ways the art world dismissed her during her younger years. In the 1950’s and 1960’s Kusama was an under-appreciated, activist, counter-culture artist. Before that, she was an imaginative youth who had visual hallucinations. Stay tuned for the next episode (Yayoi Kusama, Infinity Mirror Rooms, Part 2) to learn how Kusama went from an unknown to an artist to a worldwide phenomenon. Send us ideas & feedback. © 2025 Why'd They Put That In A Museum podcast hosts Beth Bacon and Sarah Lees.

Rembrandt is known for telling dramatic stories with his art. He often paints his figures in intriguing moods and guises. In his self-portrait, Artist In His Studio, Rembrandt does both, creating a moody, enigmatic story in a very small frame. The main subject in this small painting is the back of an enormous easel. Standing further away is the artist, Rembrandt himself, with brushes in his hands and a pensive expression on his face. What is going on here? It’s up to the viewers to use the painting’s details to come up with answers. Since viewers don’t see what’s painted on the front of the canvas, they don’t know what the artist is reacting to. In this episode of 'Why’d They Put That In A Museum,” hosts Beth Bacon and museum curator Sarah Lees discuss this highly unusual composition. To answer the questions that the painting raises, Sarah describes Rembrandt's tendency to paint self-portraits, his realistic style the stark room setting. They ponder the artist’s contemplative posture and his flamboyant costume. They talk about the socio-political context of the Netherlands in the 1600s and the Baroque influence on art. Listen to this episode to discover why this unusual and thought-provoking painting is a valued piece in the collection of the Museum of Fine Arts, Boston. Send us ideas & feedback. © 2025 Why'd They Put That In A Museum podcast hosts Beth Bacon and Sarah Lees.

The sculpture Bicycle Wheel by Marcel Duchamp is playfully irreverent and deceptively simple. It’s just a rim and a stool. But the concepts behind it are lot more complicated. In the century since it was created, it has become significantly influential in the world of contemporary art. In this episode of Why’d They Put That In A Museum , Sarah Lees and Beth Bacon take the 'Bicycle Wheel' sculpture for a spin. They explain why Duchamp created ready-mades and talk about his part on the Dada movement. They discuss Duchamp’s relationships with artists from Pablo Picasso to Jackson Pollock, Andy Warhol and others. To Duchamp, ideas were what makes art, art. And then one day, he stopped creating art altogether and became a chess master. What an idea! Send us ideas & feedback. © 2025 Why'd They Put That In A Museum podcast hosts Beth Bacon and Sarah Lees.

The Scream by Edvard Munch is among the world's most recognizable artworks. But how much do you really know about this image of a wavy figure with a scull-like face and wide open mouth? Sarah Lees and Beth Bacon discuss this painting in their podcast, "Why'd They Put That In A Museum." For one thing, The Scream cannot be called " one" of the most recognizable artworks… since Munch made multiple versions. Also, according to Munch’s notes, the figure in the picture isn’t the one who’s screaming. So who, or what, is? Listen to the podcast to find out. Sarah and Beth also talk about the picture’s composition, cultural context, emotional impact, and the thefts of its versions. They also explore Munch's background, his influences, and the mixed reception of his work during his lifetime. Send us ideas & feedback. © 2025 Why'd They Put That In A Museum podcast hosts Beth Bacon and Sarah Lees.

In the first episode of season two of Why’d They Put That in a Museum, host Sarah Lees speaks with Beth Bacon about an exhibit of works by contemporary artist Crystal Z. Campbell. Through most of this podcast, Beth is recording while walking around the exhibit at the St. Louis Art Museum. They discuss and array of Campbell's works, including collage-like artworks featuring manila paper, glass apothecary jars, and a video installation. Beth and Sarah explore themes such as healing, transformation, and the artist's Filipino heritage, touching on U.S. colonialism and personal history. In this episode Beth and Sarah discover firsthand how much more you can understand and appreciate art when you see it in person and talk about it in depth with someone else. Send us ideas & feedback. © 2025 Why'd They Put That In A Museum podcast hosts Beth Bacon and Sarah Lees.

In this episode of "Why They Put That in a Museum," Beth Bacon, an author and avid museum goer, joins Sarah Lees, a museum curator and researcher, to explore the origins, history, and purposes of museums. They discuss ancient Greek philosophical institutions, the Renaissance patronage of Lorenzo de Medici, and the concept of cabinets of curiosities in the 1600s. They talk about the founding of significant museums like the Ashmolean Museum at Oxford and the British Museum in London. The discussion transitions into the history of American museums, highlighting the Charleston Museum and the Peabody Essex Museum. They speculate about the future of museums with evolving roles and missions. They discuss Beth’s volunteer work at the Missouri History Museum and its exhibits that engage diverse audiences and promote shared community experiences. 00:00 Introduction to the Hosts and Podcast 01:19 Today's Topic: The Concept of Museums 02:35 Historical Origins of Museums 08:23 Early Museums in the United States 11:19 Modern Museums and Their Evolving Roles 17:28 Conclusion and Podcast Wrap-Up Some museums mentioned: Smart History Website: https://smarthistory.org/a-brief-history-of-the-art-museum/ Ashmolean Museum at Oxford: https://www.ashmolean.org/ British Museum in London: https://www.britishmuseum.org/ Charleston Museum: https://www.charlestonmuseum.org/ Peabody Essex Museum: https://www.pem.org/ Missouri History Museum: https://mohistory.org/museum If you'd like to contact the hosts, visit: https://whydtheyputthatinamuseum.com/ Send us ideas & feedback. © 2025 Why'd They Put That In A Museum podcast hosts Beth Bacon and Sarah Lees.

In this episode of “Why Did They Put That in a Museum?” hosts Beth Bacon and Sarah Lees discuss the photographs of a little known photographer, Lusha Nelson. Nelson’s photos were found in a yard sale. Why’d they put them in a museum? These were not just any old thrifted finds. First, they are stunningly beautiful. Plus, Nelson's photographs include portraits of icons and luminaries like Jesse Owens and Katharine Hepburn. The shading and compositions are rich and evocative. Who is Lusha Nelson? He emigrated from Latvia to New York in the 1920’s. He's a self-taught photography who, during the depression, took photos for Condé Nast (yes Condé Nast was an actual person). Nelson's life and career were cut short due to his early death in 1938. Then his works were almost lost to time. Sarah shares a personal connection to this project, recounting that, when she worked at the Philbrook Museum in Tulsa, someone contacted the museum and offered some prints she and her husband had found in a yard sale many years earlier. Usually, curators politely decline this kind of request. But Sarah and her colleagues took a look and found a treasure trove of stunning portraits and street scenes. Sarah talks about organizing the exhibition of Lusha Nelson’s art in 2017 and the role of museums in sharing work that’s spectacular enough to be preserved and shared with the public. 00:00 Introduction to the Episode 00:23 Meet Lusha Nelson the photographer 00:32 The Discovery of Lusha Nelson's Work 02:19 Iconic Photographs: Jesse Owens and Katharine Hepburn 03:39 The Significance of Nelson's Work 08:23 Sarah’s Personal Connection and Rediscovery of Nelson 12:02 Lusha Nelson's Life and Career 17:01 Street Photography and Lesser-Known Works 20:46 Legacy and Preservation 27:58 Conclusion To look at Nelson's art, visit: https://philbrook.org/exhibitions/lusha-nelson-found/ https://www.artnet.com/artists/lusha-nelson/ To reach out to the podcasters, visit: https://whydtheyputthatinamuseum.com/ Send us ideas & feedback. © 2025 Why'd They Put That In A Museum podcast hosts Beth Bacon and Sarah Lees.

In this episode of 'Why They Put That in a Museum,' hosts Beth Bacon and Sarah Lees discuss the unusual story of Vivian Meier, an unknown nanny whose extraordinary street photography was discovered by chance in an unclaimed storage locker. They discuss the unique and enigmatic nature of her photographs and the very unusual way her body of work came to be known. In fact, none of Meier’s powerful and thought-provoking photos are on display in traditional museums. Sarah and Beth go on to explore broader questions about the definition and purpose of museums. Tune in to discover why Vivian Meier's photography is a hidden gem waiting to be explored. Suggested Links https://www.vivianmaier.com/ https://newyork.fotografiska.com/en/exhibitions/vivian-maier Timeline 00:00 Introduction to the Podcast 01:50 Today's Subject: Vivian Meyer 02:21 The Discovery of Vivian Meyer's Work 05:15 Analyzing Vivian Meier's Photography 11:33 The Debate: Should Meier's Work Be in a Museum? 20:47 The Purpose of Museums 22:34 Conclusion Rate & Review on Apple Podcasts: https://podcasts.apple.com/us/podcast/whyd-they-put-that-in-a-museum/id1792614250 Send us ideas & feedback. © 2025 Why'd They Put That In A Museum podcast hosts Beth Bacon and Sarah Lees.

In this episode of 'Why They Put That in a Museum,' hosts Beth Bacon and Sarah Lees discuss a rare 1846 daguerreotype of Dolley Madison recently acquired by National Portrait Gallery in Washington DC. Dolley Madison was the wife of the fourth U.S. President, James Madison. What is a daguerreotype? To answer that question, they do a quick overview of early photography and some of the inventor-artists who got this technology started using glass and silver-plated copper sheets. What’s cool about this portrait was that it was almost lost to time. It was discovered in a basement! Then it was sent to auction where it sold at 4 times the asking price. Why is it so valuable? Listen to the fascinating story of this unique and beautiful image of one of the most beloved First Ladies in US history. Daguerreotype of Dolley Madison: Early Photography. Send us ideas & feedback. © 2025 Why'd They Put That In A Museum podcast hosts Beth Bacon and Sarah Lees.

Beth Bacon visits Richard Serra's 'Joe' and talks with Sarah Lees about her experience while walking around this large steel sculpture. In this episode of 'Why They Put That in a Museum,' Beth and Sarah wrestle with the opposing thoughts and feelings that arise when encountering this enormous steel sculpture located at the Pulitzer Arts Foundation in St. Louis, Missouri. Beth provides an on-site description of the piece, made from a huge coil of weathering steel. The piece invites visitors to walk inside and really experience what it feels like in a space created by an artist. Sarah and Beth ponder the contrasts that arise from taking in this piece: it is minimal yet powerful, solid yet undulating, imposing yet open, made of rough, industrial metal yet its curves are elegantly smooth. They talk about how the context of a museum setting matters for a piece like this. In comparison, another one of Serra’s sculptures that was placed in a public space was so ill-thought-of that it was forced to be removed. So whether or not something is in a museum, it seems, can be a factor in whether a piece is admired. 00:00 Welcome to 'Why They Put That in a Museum' 02:05 Live from the Pulitzer Arts Foundation 03:16 Exploring Richard Serra's 'Joe' 06:06 The Experience of Walking Through 'Joe' 08:25 The Art and Power of Richard Serra 13:57 The Story Behind 'Joe' and Other Works 22:06 Public Reaction to Serra's Art 25:36 Final Thoughts and Reflections Send us ideas & feedback. © 2025 Why'd They Put That In A Museum podcast hosts Beth Bacon and Sarah Lees.

In this episode of Why They Put That in a Museum , Sarah Lees and Beth Bacon discuss a stoneware jar made by Dave The Potter, a skilled enslaved potter from South Carolina. They discuss the inscription on the jar, which is a lighthearted description (dare we say roast?) of people in the town. They also explore other aspects of the jar, such as the clay it was made from, the history of its creation, and its various owners over the years. Finally they ponder its cultural context as an object from the Metropolitan Museum of Art—what is its place in a broader narrative of slavery and artistry? What are the ethical and cultural considerations behind displaying such objects in a museum? Listen to the podcast and find out. See the object at the Metropolitan Museum of New York website: https://www.metmuseum.org/art/collection/search/747045 Send us ideas & feedback. © 2025 Why'd They Put That In A Museum podcast hosts Beth Bacon and Sarah Lees.