| Exhibition Review | The Journal of American History, 88.3

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| Exhibition Review | The Journal of American History, 88.3 | The History Cooperative

Exhibition Review

"Your Place in Time: Twentieth Century America." Henry Ford Museum and Greenfield Village, 20900 Oakwood Blvd., Dearborn, MI 48124-4088.
     Permanent exhibition, opened Dec. 1999. Daily 9–5; adults $12.50, senior citizens $11.50, youth 5–12 $7.50, children under 5 free. 7,000 sq. ft. Judith E. Endelman, project director; Gretchen W. Overheiser, project manager; Donna R. Braden, Leo Landis, Nick Scalera, and Dorothy Ebersole, project staff; Vincent Ciulla Design and Lawrence Fisher, exhibit design; the Magic Lantern, media production; Guest Exhibit Production, exhibit fabrication; MAGNUM Companies Ltd., exhibit lighting.
     Lesson plans, CD-ROM, and videotape available from Wayne RESA, 33500 Van Born Rd., P. O. Box 807, Wayne, MI 48184-2497.
     Internet: objects from exhibition, nickelodeon shows, quizzes, timeline, suggested classroom activities <http://www.hfmgv.org/museum/ypit/index.html> (Sept. 25, 2001).

The baby boom generation came of age with television—in fact, it has even been called the TV generation. Courtesy Henry Ford Museum and Greenfield Village.

The historian Steven Conn recently observed in Museums in American Intellectual Life, 1876–1926 (1998) that the industrialist Henry Ford "strove for an encyclopedic completeness and for an orderly system of display for the objects" when collecting for the famous museum that now bears his name. Objects made or used by Americans relating to every human pursuit, from agriculture to woodworking, were arranged in "long, well-lit galleries crowded with glass cases displaying objects without too many visual distractions" as part of an "object-based, scientifically arranged presentation of American technological progress." Ford borrowed this method of display from nineteenth-century natural history and anthropology museums because it best served his purpose of showing how "progressive evolution" had taken place. The result was a museum that celebrated technological advancement and largely overlooked its social, cultural, and economic costs and its effect on the nation's political institutions. . . .

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