Eastern State Penitentiary

Title: Beware the Lily Law
Year: March 2011
Material: Prison bed, A/V equipment, costumes, actors, built into prison cell
Creator:  Michelle Handelman
Performers: Becca Blackwell, Michael Lynch
Cinematography: Ed David
Sound Design: Vincent Baker
Sound Mix: Dan Bora
Production Assistance: Nadja Marcin
“Spare Change for a Dying Queen” by Jimmy Carnicio

Collection: Artist Installations, adult content cell block

Eastern State Penitentiary has been trying to find ways to bring more people to the museum outside of the haunting season. One of the programs offered to do this are artist installations. These installations are temporary exhibits that are thought provoking or educational that bring to light the history and issues associated with prisons, prisoners, or the personell.

Down the cell block reserved for 'adult content' are some of these installations. All are labeled 'mature content' and this block is marked to feature 'adult content' not recommended for children. One of these is titled “Beware the Lily Law,” created by Michelle Handelman. "Lily Law" was one of the many names street youth used in place of "cops". The piece is installed in one of the cells, which has been arranged to look like it is currently in use. A projector hidden above the doorway on the inside of the cell places the image of the actor (presumably an inmate living in this cell). Also above the doorway are speakers. Together, this creates the illusion that the character on screen lives in the cell and is talking to you (the viewer). The viewer is able to sit inside the cell on a stool and listen to the story of the subject, including what life was like being transgendered before they were incarcerated, how they were arrested, and what their life is like now in the prison. Two subjects are featured (one after the other, and the video is on loop), and both are 'caught on tape' performing the daily routines that allow them to "pass". The first is male to female (shown putting on her makeup), the second female to male (shown working out and then binding his breasts). Each subject tells his or her story about being arrested at the Stonewall Inn during the 1969 Stonewalll Riots in New York City during which police raided the bar and arrested transgendered patrons.

Even today these prisoners are placed in the prisons in which they legally are identified as, meaning female transgenders are placed in male prisons, and males in female prisons. For their protection they are often placed in administrative custody, but this creates mental stress because such custody is essentially solitary confinement.

The installation is not only thought-provoking but highly controversial. An LGBT ally may watch this and be moved through either sadness or anger at seeing what life is like in prison for a transgendered person. Someone who does not have a stance on the subject or is unfamiliar with transgendered people may not understand what the 'big deal' is. Finally, someone who is does not agree with the transgendered lifestyle, is homophobic, or easily offended would likely be disgusted by not only seeing and hearing from a transgendered person but perhaps may be upset that the art piece was even installed. 

The artist clearly is an LGBT ally as the work only features the point of view from that side of the movement for equal rights between homosexuals, heterosexuals, and the people 'in between'. This insinuates that the museum is also supportive, even though it may be attempting to just make the issue known but not take sides.

For anyone unfamiliar with the troubles dealt with by the transgendered community, it would be greatly beneficial to research further into the subject.

The Philadelphia Zoo

Title: Black-Tailed Prairie Dogs Cynomys ludovicianus
Year: Unknown
Material: Wood, acrylic, fiberglass, cement, sand, dirt, hummus (other materials unknown)
Creator:  Unknown
Collection: Prairie Dogs

The black-tailed prairie dog exhibit is located on the east side of the zoo near to Bird Lake and the Treehouse. It is an open top exhibit, with low sides so that people (including children) can see the lookouts from afar. This also allows the prairie dogs to survey the area, which would stress them if they were prevented from such.  According to the zoo's website, the most common intruder that the prairie dog scouts look for are the free-range peacocks. The exhibit does not merely consist of what can be seen by the naked eye, however. The colony consists of fifty to sixty individuals, runs eight feet deep, and consists of a network of tunnels and living chambers.

Though this species is listed as "Of Least Concern" on the IUCN Redlist, it is relevant to the zoo as a whole in that it brings attention to species that are 'closer to home'. In addition, prior to 2004 black-tailed prairie dogs were listed as a candidate species to be added to the Endangered Species Act. Their populations were brought up through a combination of land management, education, population management (they are susceptible to the plague), and the placement of a ban on using prairie dogs in the exotic pet trade (this ban was lifted in 2008 however). In fact, the population has increased so dramatically that in some areas they are now considered pests by farmers (who, on that note, may not be interested in seeing a prairie dog exhibit and may even voice this opinion upon viewing such).

None of the above information can be found on the signage located at the prairie dog exhibit, however. Instead, the only interpretations consist of two signs: information on breeding cycles, and a description of the job of a lookout as well as how to identify them. The natural history and demographics of the prairie dogs can be found on the website, but no information is included on their conservation history. It is readily available common knowledge in the zoologic field (as well as the pet trade) that can be found on practically any website, but the average visitor would not think to look for such information.

Showcasing the success in increasing the prairie dog population is vital to the zoo's mission of conservation. Instead  of merely showing 'cute animals' in the middle of an otherwise exhibit-less area, the surroundings could be redesigned to immerse the visitor in 'prairie dog country'. Other zoos have built an interactive directly into a prairie dog exhibit, however this would not be an ideal project for a zoo that already has a complex enclosure built. One idea would be to devise a play area that models the network of tunnels that prairie dogs live in (this would be big enough for adults too, of course). This would help visitors to understand the extent to which prairie dogs organize their colonies. Signage could include comparisons of the size of  recorded prairie dog colonies to places like football fields, airports, and even counties. Finally, interpretations should be included extrapolating on the progress the prairie dog has made as a total population to emphasize the fact that conservation efforts do in fact work.

The American Swedish Historical Museum

Title: Tapestry
Year: 1938
Material: Wool and linen
Creator:  Designed by Märta Måås-Fjetterström, embroidered by twelve women from different provinces of Sweden
Collection: The Fredrika Bremer Room

The tapestry hangs in the back of a recreated mid-19th century Swedish parlor at them American Swedish Historical Museum in Philadelphia. The tapestry, combined with the other objects in the display, help the viewer to better understand the comfortable life Fredrika Bremer grew up with and sacrificed to help others. It features selected quotes from the writings of Fredrika Bremer, chosen by the Swedish Fredrika Bremer Room Committee.

The text translates:

The narrow valley widens
Paths becomemore numerous
There shall be room work
Lightheartedness enough for all
Who honestly seek and desire
If one has felt deeply a single
Grief then one understands
All other sufferers
Every deep longing is a
Prophecy of fulfillment
Every earnest seeking has the promise of finding
Is not faith the royal highway
Of the spirit to that other
All-highest access over the mountain
Gift of Swedish women

It is on display as an homage to both Fredrika Bremer and Swedish women everywhere. It also helps to "set the scene" of the parlor display. It appears the tapestry was made specifically for this room in 1938.

The label describes the tapestry as being "designed by one of Sweden's most famous weaving artists," thereby pointing out the importance of the item and also praising it.

If one is interested in learning more about the tapestry, further readings in the Fredrika Bremer room about her as well as studies of her life and works outside of the museum would help to gain insight. As the Fredrika Bremer room focuses on her work as a philanthropist and women's rights activist, people who are not interested in the history of women's rights or social work would likely not be interested in this room, much less the tapestry. An opposing point of view of the tapestry may come from someone who disagrees with the passages woven into the tapestry.

To further engage viewers with the tapestry, it may prove beneficial to feature a table nearby with the works of Fredrika Bremer that these passages came from so that viewers can read on.

The Philadelphia Museum of Art

Title:   Horse Armor of Duke Ulrich of Württemberg for use in the field

Year:   1507

Material:   [Armor] embossed, etched, and partially blued and gilded steel; tail plate replaced; brass; leather; [saddle] birch bark; steel; leather and textiles replaced

Creator:   Wilhelm von Worms the Elder (armorer), German, active Nuremberg, master in 1499, died 1538; and anonymous Nuremberg graphic artist.

Collection:   The Kretzschmar von Kienbusch Collection of Arms and Armor


This work is the most prominently displayed piece in The Kretzschmar von Kienbusch Collection of Arms and Armor at the Phildelphia Museum of Art. For the purposes of this examination, I will focus solely on the horse armor, as it was the only complete set of horse armor within the amory, wheras there were a number of suits displayed. The horse armor was made for Duke Ulrich of Württemberg, who served under the German king Maximilian. It is likely this armor was created for accompanying the king to Rome in 1508, but the king's trip never happened. He was known for his excessive spending on extravagances, as shown in detailed graphics on the armor (which would have been unnecessary for the field).  It is not only important because of the history of its owner, but also because of its creator and its unique qualities. It is the earliest complete set outside of Europe and the only surviving horse armor created by Wilhelm von Worms, who was famous for his skilled craftsmanship. This rich history is my guess as to why it is displayed, in addition the the beautiful craftsmanship and etchings.


The armor was acquired through a gift of Athena and Nicholas Karabots and the Karabots Foundation in 2009. The gallery itself is five rooms (two smaller rooms on either side of the main room). The armor is displayed on the sculpture of a horse, placed on a small stage at the center back of the room, perfectly centered between two windows. The entire room has been decorated in such a way as to "set the scene". Other objects in the room include more suits of armor, spears, shields, stained glass, and even a faux crow perched in one of the "castle" windows. 

A suit of armor has been put together and placed on top of the horse, posed as if riding to create the illusion of a knight and his horse prepared for battle. On either side are descriptions of the armor (the left being the knight's suit, the right being the horse's armor). 


The interpretation is written concisely in third person, and includes information not only on the armor but the armorer and the Duke. Despite the author's attempt to make the information appear impartial, however, their admiration of the work is apparent.


The study of European armor, German craftsmanship, or German history may all be useful subjects to focus on. As a fan of history in general, old trades, and reenactment (and an occasional reenactor myself) I was interested in studying practically anything in this gallery. Someone who does not enjoy studying the subject of arms or armaments  may not be interested in the horse armor, much less the gallery as a whole. As the label did not at all describe the dislike many of the Duke's subjects have for him or his infamous history, someone familiar with this may have something to say about the unnecessary extravagance of the horse's armor. The presence of an interpreter may engage viewers with the subject, though this likely exists for tours already. I would be hesitant to add any sort of interactive or additional decor to the room, as it is very fitting already and the inclusion of technology would contradict the theme.