Michael Jackson’s Glove for Museum of Contemporary Art Australia

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Table of Contents

Introduction
Object Description
Chosen Museum
Condition Report and Collection Management
Conclusion
References

Introduction

Museums are important institutions that help preserve culture through the exhibition and storage of different works of art. Most of the objects found in such facilities tend to have unique social and cultural significance. The concepts of provenance and collection management are critical whenever acquiring and storing different artifacts in different facilities. This report presents a replica of Michael Jackson’s glove as a suitable item that the Museum of Contemporary Art Australia could consider for display. It describes the cultural importance of the piece of work and how it resonates with the institution’s wider objectives and mission statement. The paper also outlines the most appropriate procedures for managing, cataloguing, and storing the glove to increase its lifespan.

Object Description

The selected object that forms the best candidate for acquisition is a replica of Michael Jackson’s glove. This piece of art is spectacular and tries to offer a glimpse of the musician’s life and how he employed revolutionary strategies to entertain his fans. The identified replica is in possession of one of my friends, who inherited it from his uncle. According to the owner’s narration, Michael Jackson’s team had designed several replicas of the famous glove that the king of pop music wore while on stage (Kehe, 2011). Only a small number of such objects managed to land in the hands of citizens during his concert in 1997 (Kehe, 2011). The fact that the specific object is accessible means that it could be valuable and capable of helping more visitors learn more about Jackson as a great musician.

In the Australian society, many gloves exist among members of different communities. Unfortunately, most of these items were mass produced with the aim of mimicking Jackson’s performances while on stage. These numerous gloves cannot be acceptable for display in any given museum since they shed little or inadequate information to the viewer (Kehe, 2011). The specific glove originated from Michael Jackson’s organizers of the 1997 concert in Australia. This fact explains why more people would be willing to associate with it and acquire additional insights about American pop culture.

The specific item that qualifies to be displayed in an Australian museum is designed for the right hand. The viewer would acknowledge that it is made using white spandex. The designer goes further to cover it using Swarovski crystals. These artistic approaches make it admirable and capable of inspiring the targeted viewer. Many people would argue that Michael’s original glove remained an iconic element of his career and wardrobe. Fans who adored his dance styles and performances would find great meaning from this single work of art. Experts would also indicate that the glove would continue to portray Michael Jackson as a great musician whose life was shrouded in doubt and mystery (Kehe, 2011). It is evident that some of the questions pertaining his personal experiences and goals might never find accurate answers.

The selected object fulfills all the key requirements for effective cataloguing in any given museum. For instance, the item would be described as a replica of Michael Jackson’s crafted glove for the right hand. In terms of material, the object is woven from white spandex and covered using Swarovski beads or lochrosen crystals (Kehe, 2011). The method of production is custom design. The masterpiece is attributable to a designer named Bill Whitten (Kehe, 2011). It was commissioned or made specifically for Michael Jackson. This glove would be identified as a memorabilia designed and produced in around 1983. This was the time when Jackson wore it for the first time during his liver performance of the famous song, Billy Jean. In 2000, the glove sold at an auction for around 350,000 US dollars. The current owner of this masterpiece remains anonymous. However, replicas like the present one are displayed in a number of museums in different countries. These aspects are informative and offer adequate information surrounding the glove. It, therefore, meets the criteria for a museum cataloguing system.

The fact that the item under analysis came from Michael Jackson means that its provenance is unquestionable. The glove originated from the American society around the 1980s. During this period, the country was experiencing numerous social and economic transformations. The era triggered various developments that led to a new wave of pop music. Specifically, more artists started emphasizing graffiti, fashion, and break dance (Kehe, 2011). These trends triggered the emergence of a cultural movement revolving around hip-hop music.

The analysis of the specific glove could help more people learn more about this cultural period and how Michael Jackson was among its pioneers. Therefore, the direct connection between this object and Michael Jackson makes it acceptable for cataloguing (Kehe, 2011). Currently, only a few gloves have been presented in the market. The identified item could fetch more than 100,000 US dollars should it be availed for auction. With the owners of most of these gloves remaining anonymous, it becomes possible to associate it with Michael Jackson and the wider American culture.

Chosen Museum

The identified museum capable of accepting and displaying the presented work of art is the Museum of Contemporary Art Australia (MCA). Over the years, this institution has been exhibiting a number of items that showcase compositions of many international and Australian musicians. For example, the facility presented the “Art/Music: Rock, Pop, Techno” exhibition between March 21 and June 24 2001 (Kehe, 2011). The curators were keen to portray the great achievements of different artists whose works entertained followers and fans across the globe. The displayed music and objects helped viewer engage with techno, pop, and rock music. The organization has held numerous exhibitions since then in support of different music genres and items.

Based on these attributes, it is evident that MCA stands a chance to accept and benefit from this object. This decision is necessary since the glove is significant and admirable. For instance, Mason (2002) observes that the work of art is in tandem with the facility’s mission to exhibit famous objects and music that are directly linked to pop culture. Despite being an Australian institution, the MCA includes works from other international celebrities whose productions and compositions remain timeless. Any form of exhibition targeting American pop musicians, such as Michael Jackson, would be more meaningful and inspirational to the viewers if the selected glove was on display (Brown, 2008). From this analysis, it is evident that the glove is capable of helping the facility attract more visitors interested in learning more about American culture.

The MCA has prioritized works of art, songs, and albums supporting the Australian music culture. Whenever there are exhibitions, it goes further to include famous items from renowned celebrities from other parts of the world. These goals show conclusively that the selected glove is appropriate for this museum. It is also in tandem with its collecting goals and priorities. The decision to accept and catalogue it would make future exhibitions more admirable and attract increasing visitors (Australian Government, 2009). Additionally, the object will make it possible for MCA to offer high-quality experiences and shed more light on the attributes surrounding pop culture and how it originated in the United States.

The cultural significance of the selected object cannot be underestimated since it guides the viewer to learn more of Michael Jackson as a great musician and performer. In 1997, Jackson visited Australia, where he had a concert a successful concert at Sydney Cricket Ground in Sydney. This event was part of his famous HIStory world tour. Based on this background information, it is agreeable that the selected replica of Michael Jackson’s glove could describe the life of the article (Kehe, 2011). From the cultural perspective, analysts would also learn more about the nature of American pop culture and how it merged different forces from other parts of the globe. It is evident that such a spectacular work of art that helps shed more light about the life of Jackson, the culture he associated with, and his subsequent achievements.

The idea of accepting this glove as part of MCA’s exhibition could help more visitors of the selected heritage site get a glimpse of Michael Jackson. They can learn more about his ambitions and he remained devoted to entertain. The move to curate the piece could also help attribute value to his concert in Australia and how it attracted thousands of fans (Smith, Lawrence, Muir, & Smith, 2019). The work would go further to communicate a sense of hope while encouraging more people to pursue their goals diligently. The individuals would also rely on the masterpiece to understand how the musician struggled with a skin condition named vitiligo (Kehe, 2011). Nonetheless, he remained resolute and ambitious in an effort to achieve most of his goals as a pop music artist.

Condition Report and Collection Management

The concept of collection management helps curators to identify exhibits that require adequate care and maintenance to minimize chances of deterioration. The nature of the selected item reveals that it is stable and might not have areas that require additional attention of conservators (Smith, Lawrence, Muir, & Smith, 2019). However, these professionals would need to implement proper mechanisms to minimize chances of deterioration and ensure that the piece of equipment is available to future generations (Frey & Steiner, 2011). Such efforts need to be pursued continuously to deliver the much needed results. The involvement of all key stakeholders would be appropriate to safeguard the intended masterpiece.

The first approach to promote proper collection management for this object is to catalogue it effectively based on the information presented above. After documenting the piece properly, the involved conservationists will select the safe environment. The professionals would also ensure that the specific internal environment at the museum is maintained effectively. The involved individuals should ensure that the layout for the glove is properly configured and less crowded. The use of proper labels would reduce chances of physical handling, thereby prolonging its lifespan (Smith, Lawrence, Muir, & Smith, 2019). The museum needs to consider the levels of temperature and ensure that they remain appropriate and stable. The use of monitoring systems would ensure that the threat of theft is reduced significantly. These attributes would also be appropriate for all the other items exhibited at MCA.

When handling is necessary, the conservationists would need to consider approaches that would prolong their use and appeal. The white spandex could deteriorate over time, leaving the crystals detached from the glove. The consideration of the best environment and proper handling techniques would help increase the glove’s lifespan (NSW Heritage Office, 2001). The concept of collection care will make it possible for the professionals involved in handling the glove to promote its perseveration and ensure that it does not suffer unnecessary or unexpected damage. Such an outcome could affect its acceptability or make it less appealing to the targeted visitors.

Conclusion

The selected artifact for this discussion helps the viewer learn more about American pop culture and how Michael Jackson helped spread it across the globe. His famous tour and performance in Australia could explain why more people would be interested in the studied glove. The move by MCA to acquire and exhibit this piece of art would help more people appreciate Michael Jackson’s achievements. They would also get a clear understanding of the global pop music culture of the late 20th century and how it impacted the global community. Proper collection management procedures would be appropriate to ensure that this work of art meets the needs of future generations.

References

Australian Government. (2009). A guide to heritage listing in Australia: Thresholds for different levels of heritage listing.

Brown, S. (2008). Mute or mutable? Archaeological significance, research and cultural heritage management in Australia. Australian Archaeology, 67(1), 19-30. doi:10.1080/03122417.2008.11681876

Frey, B. S., & Steiner, L. (2011). World heritage list: Does it make sense? International Journal of Cultural Policy, 17(5), 555-573. doi:10.1080/10286632.2010.541906

Kehe, J. (2011). Michael Jackson’s famous glove: Where it all started. The Christian Science Monitor.

Mason, R. (2002). Assessing values in conservation planning: Methodological issues and choices. In Marta de la Torre (Ed.), Assessing the Values of Cultural Heritage, pp. 5-30. Los Angeles, CA: The Getty Conservation Institute.

NSW Heritage Office. (2001). Assessing heritage significance. Web.

Smith, A., Lawrence, S., Muir, A., & Smith, J. (2019). Is it really that important? A Rapid Assessment System for historical archaeology collections. Australasian Historical Archeology, 37, 18-25.

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