This is my last museum post for the foreseeable future, based on a visit I made a month ago before everything started to close down, but I would like to continue my weekly posts – I’m not going to kid myself into thinking they’re boosting anyone’s morale (other than maybe my own), since I’m quite a negative individual at the best of times, but I think it’s good to stay in the habit and keep myself occupied. And I have settled on a topic – if you’re a regular reader, you may have seen me reference my summer of backpacking around Europe back in 2007, and though it was definitely a mixed bag, I don’t think it’s an exaggeration to say that trip ultimately changed the course of my life. Well, now that I’ve got nothing better to post about, you’ll get to relive it all with me, starting next week (assuming you come back then)! And I do hope everyone is managing to stay well out there!
I first visited the Cartoon Museum (not to be confused with the Billy Ireland Cartoon Museum in Columbus, which I have been to loads!) very early on in my blogging career, almost exactly seven years ago (Diverting Journeys turned seven in March), and I hadn’t actually been back there since, though I’d seen on various Museums Association newsletters that they were temporarily closed whilst moving to a new location, and then had re-opened in said new location (with a new curator who seriously looks about twelve. I mean, I’m probably just getting old and she’s actually well into her twenties, but I don’t understand how people that young get curatorial jobs. Really grinds my gears after the struggle I’ve had getting any kind of museum job) only a few months ago. Having seen most of the temporary exhibitions that I wanted to see at the time (wish I’d seen them all now!), I thought I might as well go check out their new set-up.
Normally, when a museum moves location, I would hope it was because it was an upgrade, but this was definitely a downgrade. They moved from their lovely ground floor location in Bloomsbury to a dingy basement just off Oxford Street (I guess it’s technically Fitzrovia, but that is far too posh a name to describe the museum’s locale. Also Oxford Street is hell and best avoided at all times, not just when social distancing). This place seriously felt like a concrete bunker, and there was what I assume was an uncovered sewage pipe just above our heads so that we got to listen to the atmospheric sound of running water (which really made me need a wee) for the duration of our visit. I can’t actually find a reason given anywhere why they moved, but now that I’ve seen it, I assume it was to save money, because there’s no way the rent on this place could be as high as the old location. The £8.50 admission price, a full three pounds higher than when I visited seven years ago, also seems to confirm that view, and I guess instead of being harsh on them, I should just be glad they still exist in some form. Art Pass members do get in for free, so I can’t really complain about the admission fee since I didn’t have to pay it.
I was keen to see the Cartoon Museum in March because of their temporary exhibition “Hail to the Chief: Brief Lives of America’s Best and Worst Presidents,” which ended in early April (I guess? I don’t really know what’s happening now). I can look at presidential caricatures all day long, particularly of the current Satsuma-in-Chief, and Martin Rowson’s drawings, which come from Andrew Gimson’s new book on the presidents (which I couldn’t resist buying from the gift shop, though I found upon reading it that it was absolutely riddled with factual errors (for example, it claimed Lincoln was assassinated by a “Robert Booth.” Don’t editors exist anymore?)), were pretty great, even though only a few of them were featured in the exhibition (they were all scrolling on a TV screen in the gallery, but I lost interest in standing there and watching them all because it was taking too long).
The other temporary exhibition at the time of my visit was “Dear Mr. Poole,” which was meant to run until 28th June (again, I don’t know what the plan is now). This was a collection of cartoons and sketches given to Phillip Poole, who sold pen nibs at his shop in Drury Lane (shown above), and befriended many artists and cartoonists over the years, who sent him personalised drawings and letters as a display of gratitude. There were too many famous names here to list them all, but this exhibition took up a substantial area of the museum, and was a treat to look at.
The permanent exhibition space was the rest of the (basement bunker) gallery, with framed cartoons from the 18th century right through to the present day crammed into every available space. As I’d come straight from work, I didn’t have the energy to read them all, but it could easily fill hours of your time if you did! I did at least skim every one though, and took the time to read the funniest looking ones. And I can finally show you the parody of Gillray and Rowlandson’s work that I loved so much on my first visit!
Unlike the old Cartoon Museum, there weren’t any comic strips here, though as I’m not a huge fan of British comics (I don’t understand the appeal of The Beano), to me it wasn’t a major loss. Also unlike the old museum, we were allowed to take pictures of the individual cartoons – at least, there was no sign prohibiting it, and Marcus specifically asked the admissions desk guy if it was alright, and he said yes. I do seem to recall there being more of a narrative to the old Cartoon Museum, but these were all just mashed on the walls in roughly chronological order, but without much commentary (maybe that’s what happens when you hire a twelve year old curator. OK, now I’m just being mean).
Although there were still a lot of lovely cartoons here (honestly, probably more that specifically interested me than in the old museum, given the focus is now more on political cartoons), I can’t help but think that in most other ways, the museum has taken a major step down. Like I said at the start, if it was a choice between a downgrade and closing altogether, I am glad they found a way to still exist (and hope they can carry on existing when this is all over), but I think they could have found a way to do more with the space. Even something relatively cheap, like better signage and nicer flooring (at least clean up the stains!), could have gone a long way to improving that bunker feel. I don’t think it’s worth £8.50, but if you have Art Pass, there’s no reason not to come and check it out when/if we’re all allowed out again. 3/5.