A few thoughts about the Nero exhibition, then. Overall I think it's better than the catalogue made me expect, with some nice design and layout decisions and great artefacts. But the source material sure sets up a problem which I don't think any exhibition on Nero can escape.
This is the opening question of the exhibition, right by the ticket desk before any artefacts. It gets to the nub of the issue - Nero's reputation as a 'bad emperor'. Any scholar will want to point out that the sources painting that picture clearly have a hostile agenda.
But because the 'good emperor, bad emperor' dichotomy is so strong, if you say the sources painting Nero as a monster are biased, it sounds like you're saying he was good after all. This is the closing Q of the exhibition, which shows it is literally framed by that dichotomy.
Because it's so baked into our sources, I don't think it can be escaped. Instead, you have to start from what 'everyone knows' about Nero - the cruelty and lust, the fiddling while Rome burnt. And so this exhibition does, with this reconstructed Baroque bust and Peter Ustinov.
One thing the exhibition tries to do is show him in context, as a product of a system. This is him as a child, with ghostly-looking statues of other Julio-Claudians seen through a curtain behind him. Because the exhibition focuses on Nero, though, it generates a sort of paradox.
This came across more in the catalogue than the exhibition, but putting Nero in context can end up sounding like you are saying, "Exen if he did these bad things, he was no worse than the rest." I feel a better approach would be a thematic exhibition on the principate as a whole.
That's the only real way to get out of the question of whether one particular emperor was 'good' or 'bad'. And there are so many great themes which could be used! E.g. succession and legitimacy, emperors seen from the provinces, imperial palaces (that's one's Mary Beard's idea).
(I should say, this is an unfinished thread as we've now been ushered back into the exhibition for the workshop bit. I've got lots of very complimentary things to say about the design and layout, as yet unwritten!)
Just adding this link to my later comments after our discussion workshop here, so I have one single thread I can link to elsewhere.
Ahhhh.... Home, wine, The Devil Rides Out on the telly, and I see I'm just in time to catch my favourite line: "He didn't stay long, did he?" #thefilmcrowd#hammerhorror
Richard Eaton must be like the Duc de Richelieu in having so many cars they're neither here nor there to him. That one Rex just crashed into a ditch is never seen or mentioned again for the rest of the film. #TheFilmCrowd
I would so have loved to be an extra in this Satanic orgy scene! It looks like massive fun. James Bernard's driving, urgent music absolutely makes it. #TheFilmCrowd
The discussion about this exhibition which I came down to take part in is finished now, ending very congenially over wine in the Great Court cafe. It was a new kind of event, put together by @wmarybeard in her role as trustee, bringing academics and museum curators into dialogue.
They wanted to know what we had got out of the exhibition, what an exhibition can do for us as academics, and we wanted to know about the decision-making process, the logistics shaping how it was put together, etc. I think both sides got a lot out of it.
Personally, I spend a lot of time trying to 'read' exhibitions about Augustus, mostly mounted by the long-dead, so it was fascinating to hear from a modern equivalent. E.g. they had to reduce all text in this exhibition by 20% to prevent people lingering too long due to COVID.