Classics are timeless, meaning that different generations who experience a classic will probably be affected in the same way as the generation that experienced the classic first. This is also true for the Olmec exhibit at the De Young Museum. Sixteen heads have been discovered so far, and at least ten of them are thought to memorialize rulers. Composite eyes with deep incisions, a broad nose, and a mouth facing downward are iconic Olmec-style features that can be seen on each head. They all have helmets decorated with animal insignia which may have possibly served as the governor’s emblem. Some of these heads were carved from pre-existing thrones, the exact reason behind this is still unknown. Two possibilities include: stone as a material was scarce and they had to re-use what they had, or the throne was a sentimental piece and it was a symbolic act. Evidence for throne use comes from the fact that the back of the heads are flat instead of round like the rest of the head. Also, the fact that these heads were found in the Olmec capital further emphasizes their importance.
A man known as Walter Benjamin compares the purpose of ritualistic art with exhibition or mass reproduction of art. Interestingly the Olmec heads appear to be a combination of both, we assume their creation is to ritually depict governors and even though each head has its own unique characteristics, they all are similar in that they are giant heads carved from stone to immortalize certain individuals in Olman history. Another factor is present among the Olmec heads which echoes a point brought up by Benjamin, “Instead of being based on ritual, it begins to be based on another practice- politics” (Chaper IV). Even though these are great works of art, their primary purpose is political because of the people who they represent, governors. The advertising campaign to promote the Olmec heads can also be considered political, increased awareness of the Olmec Exhibit will in turn increase income for the De Young Museum as well as its prestige. Benjamin also explains how a work of art never loses its exclusive ‘aura’ even when seen from different perspectives. The Olmec heads represented powerful individuals when the Olman society was still alive, and in modern times people will still see it as powerful, but instead as a representation of all Olmans instead of just their governers.
Benjamin also compares the ability of certain works of art being open to the public with exclusive secretive works of art. Some of the reasons for exclusivity include specific individuals who inherit the right to witness the work of art, or it may simply be due to the weight or foundation of a work of art that it cannot be moved without compromising the work of art itself. Considering this idea with the Olmec heads, technology has allowed the transportation of these massive heads, when in the past moving these objects is considered impossible.
The Olmec heads are slightly intimidating but also simultaneously intriguing because of their overwhelming size. The opportunity to actually see an Olmec head in person is deeply humbling with the knowledge that ancient people were able to sculpt such objects without the use of metal tools. The museum setting containing the works of art centered in displays with lights and information evokes imagination and wonder from the observer. The sterile environment helps isolate the figure into focus but also forces the observer to guess about what it was like to see these figures in their original environment. The optional headphones for the exhibit explains certain information about the Olman society and also provides some tribal background music to help immerse the observer. Even with the music and lights however, the exhibit cannot recreate the smells and sounds of water, plants, and dirt from the tropical locale of the Olmec head, nor can it authentically recreate the “natural pose” it was found in. Witnessing the Olmec head in its original environment will probably be exponentially more powerful than the same Olmec head presented at the De Young Musuem. It is the same as trying to teach someone how to do something by only telling them what to do, the best thing is to actually try it for themselves so they know the feeling personally. The same goes for seeing the Olmec head in the museum, we are told objective information through third parties such as information cards and tour guides, but it does not compare to the experience of coming across these masterpieces in their homeland while all of your senses are engaged. People remember things better when it is a personal experience instead of forced learning.
Overall, experiencing the Olman artworks is sort of paradoxical. The size of the heads are so large that it does not matter if you see it in a museum or the natural environment, they simply have a powerful presence. However, at the same time each location has its advantages and disadvantages. The museum helps you learn about the history behind the artworks and the people who created them, but the environment has the indescribable sensory experience which the Olman society felt as well as the archaeologists which rediscovered them. The presentation utilizing a stage and lights helps keep the piece in focus for the observer to examine but the environment also compliments the piece with a history of its own (being the environment that the Olman people lived in). Objective information from the museum concludes the observer’s questions about the piece, but the natural environment envelopes the piece with an infinite curiosity. In the end it all depends on the individual for what is preferred, everything has a good and bad side and it is up to the individual to decide what they perceive as ultimately good or bad.
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