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1
Federici, Angelica, und Joseph Chandler Williams. „Digital Humanities for Academic and Curatorial Practice“. Studies in Digital Heritage 3, Nr. 2 (12.06.2020): 117–21. http://dx.doi.org/10.14434/sdh.v3i2.27718.
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The Digital Humanities have challenged all disciplines of Art History to engage with new interdisciplinary methodologies, learn new tools, and reevaluate their role within academia. In consequence, art historians occupy a new position in relation to the object of study. Museums have been equally transformed. The possibilities of creating virtual realities for lost/inaccessible monuments poses a new relationship between viewer and object in gallery spaces. Digital Humanities interventions in museums even allow us to preserve the memory of endangered global heritage sites that cease to exist or are inaccessible (celebrated examples including the lost Great Arch of Palmyra reconstructed with a 3D printer). Curatorial practices are now trending towards a sensorial and experiential approach. Is the role of Digital Humanities, in academic as well in museum settings, to “reveal” the object itself, through an empirical display of existing material, or to “reconstruct” something of the original experience of the object to engage spectators? Can we propose a reconciliation between these two “poles”? The Sixth International Day of Doctoral Studies promoted by RAHN aims to investigate the role of Digital Humanities by fostering a dialogue between the protection of cultural heritage sites, museology, the history of art, and the digitalization of Big Data.
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Putcha, Rumya S. „Yoga and White Public Space“. Religions 11, Nr. 12 (14.12.2020): 669. http://dx.doi.org/10.3390/rel11120669.
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This article connects recent work in critical race studies, museum studies, and performance studies to larger conversations happening across the humanities and social sciences on the role of performance in white public spaces. Specifically, I examine the recent trend of museums such as the Natural History Museum of London, the Metropolitan Museum of Art in New York, and the Museum of Fine Arts in Boston, to name but a few, offering meditation and wellness classes that purport to “mirror the aesthetics or philosophy of their collections.” Through critical ethnography and discursive analysis I examine and unpack this logic, exposing the role of cultural materialism and the residue of European imperialism in the affective economy of the museum. I not only analyze the use of sound and bodily practices packaged as “yoga” but also interrogate how “yoga” cultivates a sense of space and place for museum-goers. I argue that museum yoga programs exhibit a form of somatic orientalism, a sensory mechanism which traces its roots to U.S. American cultural-capitalist formations and other institutionalized forms of racism. By locating yoga in museums within broader and longer processes of racialization I offer a critical race and feminist lens to view these sorts of performances.
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Blakesley, Rosalind P. „Art, Nationhood, and Display: Zinaida Volkonskaia and Russia's Quest for a National Museum of Art“. Slavic Review 67, Nr. 4 (2008): 912–33. http://dx.doi.org/10.2307/27653031.
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In 1831, the journal Teleskop published Princess Zinaida Volkonskaia's proposal for a national art museum in Moscow. Volkonskaia's project was progressive to a degree (Russia had no such museum at the time), yet the model she proposed was highly traditional. She excluded Russian art entirely, despite her support of modern Russian artists. Instead, Volkonskaia privileged classical and more recent western European art, underlining the deference to western practice that influenced cultural politics even as Russia moved toward a stronger national sense of self. Volkonskaia's project marks an important juncture in Russia's cultural history: the intersection of aristocratic female patronage and the institutionalization of academic procedure. It also provides a platform from which to consider Russia's self-image vis-à-vis Europe in the aftermath of the Napoleonic campaigns. By tracing an intricate dialogue in which national pride developed alongside continuing admiration for neoclassical ideals, Rosalind P. Blakesley addresses the paradoxes of Volkonskaia's project, and the difficulties of conceptualizing a “national” space of artistic display. Volkonskaia's project poses significant interpretive problems and her exclusion of Russian art prefigures the segregation of Russian and western art in Russian museums today, which has marginalized Russian art even within Russia itself. Volkonskaia's project thus has wide resonance, for the question of whether and how museums encapsulate national cultural identities remains an issue of great intellectual concern.
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Kisin, Eugenia, und Fred R. Myers. „The Anthropology of Art, After the End of Art: Contesting the Art-Culture System“. Annual Review of Anthropology 48, Nr. 1 (21.10.2019): 317–34. http://dx.doi.org/10.1146/annurev-anthro-102218-011331.
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We focus on the anthropology of art from the mid-1980s to the present, a period of disturbance and significant transformation in the field of anthropology. The field can be understood to be responding to the destabilization of the category of “art” itself. Inaugural moments lie in the reaction to the Museum of Modern Art's 1984 exhibition “Primitivism” in 20th Century Art, the increasing crisis of representation, the influence of “postmodernism,” and the rising tide of decolonization and globalization, marked by the 1984 Te Maori exhibition at the Metropolitan Museum in New York. Changes involve boundaries being negotiated, violated, and refigured, and not simply the boundaries between the so-called “West” and “the rest” but also those of “high” and “low,” leading to a re-evaluation of public culture. In this review, we pursue the influence of changing theories of art and engagements with what had been noncanonical art in the mainstream art world, tracing multiple intersections between art and anthropology in the contemporary moment.
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Tamimi Arab, Pooyan. „Islamic heritage versus orthodoxy: Figural painting, musical instruments and wine bowls at the Dutch National Museum of World Cultures“. Journal of Material Culture 26, Nr. 2 (05.03.2021): 178–200. http://dx.doi.org/10.1177/1359183521997503.
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Shahab Ahmed’s What Is Islam? The Importance of Being Islamic (2016) challenges anthropologists, Islamic Studies scholars, art historians and museum practitioners to question the theological assumptions underlying conceptions of Islamic art and material culture. This article analyses three object types key to Ahmed’s analysis – Islamic figural painting, musical instruments and wine bowls – from the vantage point of the collection of the Dutch National Museum of World Cultures. Based on the author’s experience as Assistant Curator for West Asia and North Africa in 2015–2016 and on exhibition developments up until 2019, Ahmed’s framework is demonstrated as a guide for critical interpretations of exhibitions of Islamic art and material culture. This perspective lays bare a tension that contemporary museums struggle with in response to nationalist pressures to integrate Muslim citizens in Western Europe: between a diverse Islamic heritage, on the one hand, and orthodox desires to materially purify the very idea of Islam, on the other.
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Pandi, Tina, Marina Markellou, Esther Solomon und Thomas Valianatos. „From public debates to institutional establishment: Exploring the mission of the National Museum of Contemporary Art in Greece“. Journal of Greek Media & Culture 9, Nr. 1 (01.06.2023): 3–20. http://dx.doi.org/10.1386/jgmc_00065_1.
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In December 1997, the National Museum of Contemporary Art (Ethniko Mouseio Synchronis Technis – EMST) was established by law in Athens under the auspices of the Hellenic Ministry of Culture, compensating for the long-term absence of a state museum of contemporary art in Greece. Following the restitution of democracy in 1974, the question ‘what kind of museum do we need for contemporary art in Greece?’ was raised by artists and other professionals (critics, curators, gallerists, researchers) and explored through a series of public debates and events. However, only in the 1990s was this demand supported by politicians, eventually leading to the establishment of the EMST in 1997. This article examines the public debates developed by art professionals from 1976 to 1997 regarding the mission of the museum as an open, experimental institution in relation to the broader cultural and sociopolitical context. It also analyses the legislation related to its establishment and questions whether the above priorities and expectations were reflected in the relevant legal provisions.
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González Fraile, Eduardo Miguel. „WHITNEY MUSEUM OF AMERICAN ART (MET BREUER)“. Proyecto, Progreso, Arquitectura 23 (19.11.2020): 28–45. http://dx.doi.org/10.12795/ppa.2020.i23.02.
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El museo de arte Whitney de Breuer se ubica en la isla de Manhattan, en Nueva York, próximo a varios museos muy importantes: al Museo Americano de Historia Natural, al Museo Metropolitano de Arte y al Museo Guggenheim, la obra más conocida de Franz Lloyd Wright. En la génesis del proyecto influirán las características del lugar, la geometría de la parcelación, las metáforas concomitantes con la fachada del anterior Museo Whitney, la emulación de la aérea volatilidad del Museo Guggenheim y la bien engrasada disposición del programa funcional, condensadas en una sección principal que se hunde bajo la línea de tierra y busca allí las raíces del diseño. El plano del terreno original separa arquitecturas distintas respecto al programa, la estructura y la morfología: transparencia de la parte inferior de la fachada frente a la opacidad y masividad de los volúmenes que avanzan hacia el exterior. El patio mediterráneo subyace en el esquema de la disposición de la planta y el complejo patio inglés aporta la sección generadora y da forma literal a las fachadas, contenidas por una envolvente abstracta y poseedoras de un contenido encriptado.
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Baker, Sarah, Lauren Istvandity und Raphaël Nowak. „Curatorial practice in popular music museums: An emerging typology of structuring concepts“. European Journal of Cultural Studies 23, Nr. 3 (29.03.2018): 434–53. http://dx.doi.org/10.1177/1367549418761796.
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Museums have been central to the institutionalisation of popular music as heritage; yet, there has been little scholarly focus on the curatorial strategies behind the exhibition of popular music’s past. This article outlines an emerging typological framework of structuring concepts in curatorial practice in popular music museums. The typology brings into conversation concepts previously identified by a number of popular music museum scholars. These concepts are critically assessed and built upon substantively by drawing on the subjective experiences of curators involved in the exhibition of popular music in museums in a range of geographical locations. Eight concepts are discussed: dominant (and hidden) histories, projected visitor numbers, place, art and material culture, narrative, curator subjectivity, nostalgia and sound. We argue that such a framework acts as a useful tool for comparing institutional practices internationally and to more fully understand the ways in which popular music history is presented to museum visitors.
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Starodubtseva, Marina V. „Alexander Sedov: “We Tell People about Their Culture”“. Oriental Courier, Nr. 3-4 (2021): 21. http://dx.doi.org/10.18254/s268684310017997-4.
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An interview with Alexander V. Sedov, the Director-General of The State Museum of Oriental Art devoted to the launch of the new master’s program of the Faculty of Oriental Studies of the State Academic University for the Humanities (GAUGN) and the Department of Oriental History of the Institute of Oriental Studies Russian Academy of Sciences “Socio-Cultural Development of East Asian Countries”, which is headed by Alexander Sedov as an academic curator (Dinara V. Dubrovskaya, the head of the Department of Oriental History of the Institute of Oriental Studies RAS, is the supervisor of the program). The interview focused on the attractiveness of the Eastern art and culture and their broadcasting to a wider audience through the exhibitions of the Oriental museum, reaching the level of discussion of the problems of preserving cultural heritage, questions of the feasibility and relevance of museumification of archaeological sites such as Palmyra in Syria, monuments in Oman and Yemen.
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G., E., Barbara Lipton und Nima Dorjee Ragnubs. „Treasures of Tibetan Art: Collections of the Jacques Marchais Museum of Tibetan Art“. Journal of the American Oriental Society 120, Nr. 3 (Juli 2000): 497. http://dx.doi.org/10.2307/606056.
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Mihailova, Mihaela. „To Dally with Dalí: Deepfake (Inter)faces in the Art Museum“. Convergence: The International Journal of Research into New Media Technologies 27, Nr. 4 (26.07.2021): 882–98. http://dx.doi.org/10.1177/13548565211029401.
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This essay focuses on the nascent symbiotic relationship between deepfakes and art museums and galleries, as demonstrated by three case studies. The first one, housed at the Dalí Museum in St Petersburg, Florida, is a life-size talking avatar of the artist generated from archival footage. The second one, Warriors by James Coupe, revisits Walter Hill’s 1979 film of the same name using deepfake algorithms to insert visitors’ faces into key scenes, sorting them into gangs based on data-driven analysis of their demographic and economic markers. Finally, Gillian Wearing’s fake ad, Wearing Gillian, uses deepfake technology to enable a series of actors to appear on screen with the artist’s face as a way of interrogating questions of identity in a networked digital world. Based on these works, my article examines museums’ employment of deepfakes for advertising, audience engagement, and educational outreach, and the curatorial, ethical, and creative opportunities and challenges involved therein. While deepfake esthetics will be discussed wherever relevant, this is not a formalist analysis; my goal is not to focus on close readings of the deepfake pieces themselves, however fascinating their esthetics. Instead, I will look at the promotional and critical discourse around them in order to unpack the ways in which the acquisition of creative deepfake works by cultural institutions functions as a legitimizing force that is already shifting the narrative regarding the artistic value and social functions of this technology.
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Parker, Eryn, und Michael Saker. „Art museums and the incorporation of virtual reality: Examining the impact of VR on spatial and social norms“. Convergence: The International Journal of Research into New Media Technologies 26, Nr. 5-6 (08.01.2020): 1159–73. http://dx.doi.org/10.1177/1354856519897251.
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Art museums implicate established spatial and social norms. The norms that shape these behaviours are not fixed, but rather subject to change as the sociality and physicality of these spaces continues to develop. In recent years, the re-emergence of virtual reality (VR) has led to this technology being incorporated into art museums in the form of VR-based exhibits. While a growing body of research now explores the various applications, uses and effects of VR, there is a notable dearth of studies examining the impact VR might be having on the spatial and social experience of art museums. This article, therefore, reports on an original research project designed to address these concerns. The project was conducted at Anise Gallery in London, United Kingdom, between June and July 2018 and focused on the multisensory, and VR-based, exhibition, Scents of Shad Thames. The research involved 19 semi-structured interviews with participants who had just experienced this exhibition. Drawing on scholarly literature that surrounds the spatial and social norms pertaining to art museums, this study advances along three lines. First, the research explores whether the inclusion of VR might alter the practice of people watching, which is endemic of this setting. Second, the research explores whether established ways of navigating the physical setting of art museums might influence how users approach the digital space of VR. Third, the research examines whether the incorporation of VR might produce a qualitatively different experience of the art museum as a shared social space.
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Sabadash, Juliia, und Yuzef Nikolchenko. „50 years of chronicle discourse of the department of event-industries, culturology and museum studies of Rivne state humanitarian university“. Bulletin of Mariupol State University Series Philosophy culture studies sociology 12, Nr. 23 (2022): 120–31. http://dx.doi.org/10.34079/2226-2849-2022-12-23-120-131.
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Peer-reviewed monograph "Higher Cultural Education in Ukraine: Regional Discourse (through the prism of the Department of Event Industries, Cultural Studies and Museum Studies of Rivne State University for the Humanities)", prepared for publication by Doctor of Cultural Studies, Professor, Professor of the Department of Event Industry and Culture Vytkalov, is the first attempt in domestic historiography to comprehensively study the system of higher cultural education in Ukraine, based on 50 years of experience of the Department of Event Industries, Cultural Studies and Museum Studies of Rivne State University for the Humanities, formed in 1971 within the Rivne Faculty of Culture and Education of the Kyiv State Institute of Culture, and later (since 1979) - Rivne State Institute of Culture and (since 1998) - in RDGU. The use of historical-analytical method, system-functional approach and network analysis allowed the author of the monograph to comprehensively analyze the trends in the development of higher cultural education in the western region of Ukraine in its historical retrospective. In a highly professional clarification of the essence of educational and scientific activities of the staff of the department for 50 years, the author originally used the form of the Chronicle as a traditional method of phased coverage of events. This is a complete picture of the directions and effectiveness of its work not only in the system of higher cultural education in Ukraine, but also the development of culture and art in Volyn, Zakarpattia, Ivano-Frankivsk, Lviv, Rivne, Ternopil, Khmelnytsky, Chernivtsi regions provided by the graduates of the department according to the state order. The monograph will be useful for scientists, students, cultural workers; it is a significant contribution of the lecturers of the Department of Event Industries, Cultural Studies and Museum Studies of Rivne State University for the Humanities to the development of Ukrainian cultural studies.
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Whittington, Vanessa. „Decolonising the museum?“ Culture Unbound 13, Nr. 2 (08.02.2022): 245–69. http://dx.doi.org/10.3384/cu.3296.
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As institutions that arose during the European age of imperial expansion to glorify and display the achievements of empire, museums have historically been deeply implicated in the colonial enterprise. However if we understand coloniality not as a residue of the age of imperialism, but rather an ongoing structural feature of global dynamics, the challenge faced by museums in decolonising their practice must be viewed as ongoing. This is the case not just in former centres of empire, but in settler-colonial nations such as Australia, where “the colonisers did not go home” (Moreton-Robinson 2015: 10). As a white, Western institution, a number of arguably intrinsic features of the museum represent a significant challenge to decolonisation, including the traditional museum practices and values evinced by the universal museum. Using a number of case studies, this paper considers the extent to which mainstream museums in Australia, Britain and Europe have been able to change their practices to become more consultative and inclusive of Black and Indigenous peoples. Not only this, it discusses approaches that extend beyond a politics of inclusion to ask whether museums have been prepared to hand over representational power, by giving control of exhibitions to Black and Indigenous communities. Given the challenges posed by traditional museum values and practices, such as the strong preference of the universal museum to maintain intact collections, this paper asks whether community museums and cultural centres located within Indigenous communities may represent viable alternative models. The role of the Uluru Kata Tjuta Cultural Centre in Australia’s Northern Territory is considered in this light, including whether Traditional Custodians are able to exert control over visitor interpretation offered by this jointly managed centre to ensure that contentious aspects of Australian history are included within the interpretation. As institutions that arose during the European age of imperial expansion to glorify and display the achievements of empire, museums have historically been deeply implicated in the colonial enterprise. However if we understand coloniality not as a residue of the age of imperialism, but rather an ongoing structural feature of global dynamics, the challenge faced by museums in decolonising their practice must be viewed as ongoing. This is the case not just in former centres of empire, but in settler-colonial nations such as Australia, where “the colonisers did not go home” (Moreton-Robinson 2015: 10). As a white, Western institution, a number of arguably intrinsic features of the museum represent a significant challenge to decolonisation, including the traditional museum practices and values evinced by the universal museum. Using a number of case studies, this paper considers the extent to which mainstream museums in Australia, Britain and Europe have been able to change their practices to become more consultative and inclusive of Black and Indigenous peoples. Not only this, it discusses approaches that extend beyond a politics of inclusion to ask whether museums have been prepared to hand over representational power, by giving control of exhibitions to Black and Indigenous communities. Given the challenges posed by traditional museum values and practices, such as the strong preference of the universal museum to maintain intact collections, this paper asks whether community museums and cultural centres located within Indigenous communities may represent viable alternative models. The role of the Uluru Kata Tjuta Cultural Centre in Australia’s Northern Territory is considered in this light, including whether Traditional Custodians are able to exert control over visitor interpretation offered by this jointly managed centre to ensure that contentious aspects of Australian history are included within the interpretation. As institutions that arose during the European age of imperial expansion to glorify and display the achievements of empire, museums have historically been deeply implicated in the colonial enterprise. However if we understand coloniality not as a residue of the age of imperialism, but rather an ongoing structural feature of global dynamics, the challenge faced by museums in decolonising their practice must be viewed as ongoing. This is the case not just in former centres of empire, but in settler-colonial nations such as Australia, where “the colonisers did not go home” (Moreton-Robinson 2015: 10). As a white, Western institution, a number of arguably intrinsic features of the museum represent a significant challenge to decolonisation, including the traditional museum practices and values evinced by the universal museum. Using a number of case studies, this paper considers the extent to which mainstream museums in Australia, Britain and Europe have been able to change their practices to become more consultative and inclusive of Black and Indigenous peoples. Not only this, it discusses approaches that extend beyond a politics of inclusion to ask whether museums have been prepared to hand over representational power, by giving control of exhibitions to Black and Indigenous communities. Given the challenges posed by traditional museum values and practices, such as the strong preference of the universal museum to maintain intact collections, this paper asks whether community museums and cultural centres located within Indigenous communities may represent viable alternative models. The role of the Uluru Kata Tjuta Cultural Centre in Australia’s Northern Territory is considered in this light, including whether Traditional Custodians are able to exert control over visitor interpretation offered by this jointly managed centre to ensure that contentious aspects of Australian history are included within the interpretation. As institutions that arose during the European age of imperial expansion to glorify and display the achievements of empire, museums have historically been deeply implicated in the colonial enterprise. However if we understand coloniality not as a residue of the age of imperialism, but rather an ongoing structural feature of global dynamics, the challenge faced by museums in decolonising their practice must be viewed as ongoing. This is the case not just in former centres of empire, but in settler-colonial nations such as Australia, where “the colonisers did not go home” (Moreton-Robinson 2015: 10). As a white, Western institution, a number of arguably intrinsic features of the museum represent a significant challenge to decolonisation, including the traditional museum practices and values evinced by the universal museum. Using a number of case studies, this paper considers the extent to which mainstream museums in Australia, Britain and Europe have been able to change their practices to become more consultative and inclusive of Black and Indigenous peoples. Not only this, it discusses approaches that extend beyond a politics of inclusion to ask whether museums have been prepared to hand over representational power, by giving control of exhibitions to Black and Indigenous communities. Given the challenges posed by traditional museum values and practices, such as the strong preference of the universal museum to maintain intact collections, this paper asks whether community museums and cultural centres located within Indigenous communities may represent viable alternative models. The role of the Uluru Kata Tjuta Cultural Centre in Australia’s Northern Territory is considered in this light, including whether Traditional Custodians are able to exert control over visitor interpretation offered by this jointly managed centre to ensure that contentious aspects of Australian history are included within the interpretation.
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Bahia, Ana Beatriz. „GAME DESIGN AT THE ART MUSEUM: THE NUBLA CASE OF EDUCATHYSSEN“. Herança 6, Nr. 1 (08.03.2023): 53–68. http://dx.doi.org/10.52152/heranca.v6i1.681.
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The article discusses one of the main projects of the Education Department of the Thyssen-Bornemisza National Museum (Madrid/ES). Nubla: Laboratorio de Arte, Educación y Videojuegos is a project designed in 2013, which took shape between 2015-2017, and is still active to this day. In this paper, I sought to understand what defines Nubla and how the project differs from the video games previously created by EducaThyssen (2001-). The methods used were: exploratory research (in the institution's online platforms),, and bibliographic review. First, the article contextualizes and briefly describes the Nubla. Then, it discusses how this laboratory explores the language of video games, the game design process, and the development of media products. EducaThyssen works in collaborative dynamics, carried out with young audiences and in partnership with universities and companies in the video game industry. Finally, the article analyzes Nubla based on the concepts "active visitor" (1998) and "post-museum" (2000) by Eilean Hooper-Greenhill; and "communicative ecosystem" (2004) and "plural museum" (2000) by Jesús Martín-Barbero. It concludes that Nubla actively contributes to the transformation of practices and values, not only in the world of museums but also in the fields of art, education, and the video game industry.
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Mithlo, Nancy Marie. „The Artist Knows Best: The De-Professionalism of a Profession“. American Indian Culture and Research Journal 43, Nr. 4 (01.10.2019): 65–76. http://dx.doi.org/10.17953/aicrj.43.4.mithlo.
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The traveling art exhibit Jimmie Durham: At the Center of the World (2017–2018) demonstrated three powerful art world tendencies: the use of fraud as an artistic register, the assertion of the artist as authority, and the decontextualization of the arts as an object-centered analysis. These three approaches are congruent with capitalism and the private market, while simultaneously negating Indigenous values of community-based knowledges that operate largely outside the commercial sphere. An analysis of these competing art world values reveals the complicity of public museums with private gain and not education, their stated mission. Ethnic fraud demonstrates how art institutions and their staff employ “selective worth” as a means to cloak the arbitrary exertion of power and simultaneous rejection of Indigenous studies as academic discipline built on the value of tribal sovereignty. Serving as a backdrop for these conversations are a discussion of the history of Native approaches to museology from the early tribal museum era forward and an examination of current “reformist” and “radical” approaches to theorizing Native arts.
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Perini, Giovanna. „Sir Joshua Reynolds and Italian Art and Art Literature. A Study of the Sketchbooks in the British Museum and in Sir John Soane's Museum“. Journal of the Warburg and Courtauld Institutes 51 (1988): 141. http://dx.doi.org/10.2307/751267.
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Lorente, Jesús-Pedro. „Galleries of modern art in nineteenth-century Paris and London: their location and urban influence“. Urban History 22, Nr. 2 (August 1995): 187–204. http://dx.doi.org/10.1017/s0963926800000468.
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Museums of contemporary art tend to be exclusive landmarks of great capitals. We are used to finding art galleries in the most prominent of locations, either in old palaces, or in purpose-built museum buildings. For the special case of galleries of contemporary art, however, it is also a common policy to provide space at the middle of an out-of-town park, or else into the heart of an urban renewal area, using modern arts as ‘flagships’ of city regeneration. This article strives to show that today's dilemmas and choices about the siting of galleries of art are a legacy of the nineteenth century, recalling the lively controversies concerning the urban setting of the Parisian Musée des Artistes Vivants and its London equivalents. The different national cases are explored, to reveal several distinct models of gallery formation.
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Harte, Tim. „A Visit to the Museum: Aleksandr Sokurov's Russian Ark and the Framing of the Eternal“. Slavic Review 64, Nr. 1 (2005): 43–58. http://dx.doi.org/10.2307/3650066.
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In this close analysis of Aleksandr Sokurov's 2002 film Russkii kovcheg (Russian ark), Tim Harte explores the interplay between the medium of painting and cinema in this unprecedented ninety-minute single-shot film set in the grand halls and galleries of the Hermitage Museum. As Harte argues, the film's unique premise and setting allow Sokurov to convey how the museum, its art and history, and subsequently cinema can affirm a nation's culture, transporting die past ever so evocatively into the present in order to sustain culture's vitality. Throughout Sokurov's ninety-minute single-shot fusion of Western art and Russian history, a continual emphasis on the image of the frame prevails, with the frame constituting an important artistic and metaphysical threshold for the filmmaker. Constandy moving through the ubiquitous frames, Sokurov establishes his own cinematic rendering of culture's eternal essence.
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Phillips, Ruth B. „The issue is moot: Decolonizing art/artifact“. Journal of Material Culture 27, Nr. 1 (31.12.2021): 48–70. http://dx.doi.org/10.1177/13591835211069603.
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This article seeks to step back from the long-standing debate between art and artifact—aesthetics and science-- understood as terms that reference central concerns of the quintessentially modern Western disciplines of art history and anthropology. In their landmark edited volume The Traffic in Culture: Refiguring Art and Anthropology, George Marcus and Fred Myers explored the growing convergences exhibited by the concerns and methods of practitioners of the two disciplines, both in the academy and the museum. By training our attention on contemporary artworlds—understood as systems—they illuminated the exchanges of aesthetic and conceptual ideas and forms that have brought Western and non-Western arts into shared discursive and real spaces. Yet in the quarter century since the book’s publication there has been a noticeable retreat from attempts by the proponents of visual studies and an expanded visual anthropology to actualize disciplinary convergences. The boundaries that separate art and anthropology have not been dissolved. Art historians and anthropologists continue to ask different questions and to support different regimes of value. From the author’s vantage point in a settler society currently directing considerable energies to institutional projects of decolonization the old debates have rapidly been receding as a new ‘third term’ – Indigenous Studies-- intrudes itself on the well trodden terrain. Not (yet) definable as a discipline but, rather, maintaining itself as an orientation, Indigenous Studies nevertheless renders the earlier disciplinary debates moot. Place, rather than time-based, collective rather than individual, holistic rather than either disciplinary or interdisciplinary, Indigenous Studies formulations exert decolonizing pressures on institutions that are rapidly mounting. Using Anishinaabeg: Art and Power, a show in 2017 at the Royal Ontario Museum (ROM), as a case study, this article shows how an exhibition moved representation away from the art/artifact dichotomy as well as from contested strategies of ‘inclusion’ and pro forma recognitions of ‘Indigenous ontology’ toward a genuine paradigm shift.
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Kuzeeva, Zuhra Z., und Ritsa Sh Zelnitskaya (Shlarba). „K.A. INOSTRANTZEV СOLLECTION ON TRADITIONAL NOGAI CULTURE IN THE COLLECTIONS OF THE RUSSIAN ETHNOGRAPHIC MUSEUM“. History, Archeology and Ethnography of the Caucasus 16, Nr. 1 (30.04.2020): 185–209. http://dx.doi.org/10.32653/ch161185-209.
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The article discusses a small, but rather rich in content, collection of objects from the Department of Ethnography of the Peoples of the Caucasus, Central Asia and Kazakhstan of the Russian Ethnographic Museum for Nogai Culture of the North-East Caucasus (Karanogais), which was collected at the beginning of the last century by K.A. Inostrantzev. This collection under stock number 333 is the very first museum collection on traditional Nogai culture. The collection fully demonstrates the features of the traditional culture and art of the people. It contains unique materials that have long been lost in the environment of everyday life and do not have originals in the central and regional museums of the country and in private collections. These are the interior items of the yurt, items of male and female costume, wedding arba, wedding yurt and felt decorations of the wedding yurt of the late XIX - early XX centuries.
The main objective of the study is to consider museum objects of the collection 333 as objects of historical and cultural heritage, to identify and study them as an independent scientific source. This formulation of the problem was primarily due to modern trends, when in the era of digital computer technology in the humanities, interest in the latest research practices is growing. The study of objects of traditional culture using modern techniques would allow to reveal already seemingly sufficiently studied material from a new point of view. In this sense, museum collections play a significant role and sometimes are the only source for studying objects of traditional material culture and art of some peoples. And therefore, the allocation of the specifics of the information resource of museum material for its further analysis is one of the urgent tasks today, both in historical disciplines and in the field of related sciences.
As part of this study, a detailed analysis of museum objects was carried out, the attribution of things was compiled, a classification was created.
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Starn, Randolph. „Three Ages of ''Patina'' in Painting“. Representations 78, Nr. 1 (2002): 86–115. http://dx.doi.org/10.1525/rep.2002.78.1.86.
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THIS ARTICLE TRACES THE HISTORY of a byword for the look of age since the early seventeenth century in art writing, the museum, the restorer's studio, and the art market. The seemingly material fact of patina has a career in the history of taste in Old Master painting through its old regime in the seventeenth and eighteenth centuries, when it was much prized as an effect of time and as an artifice; in its modern age beginning with the formation of national museums, patina becomes an object of contention in the ''cleaning controversies'' that revolve around the obligations of the present toward the cultural legacy of the past. Postmodern patina has come to register the complex and precarious effects of age on old pictures in ways that should enable us to appreciate and to care for them more knowingly than we have been able to do before.
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Horner, Alice E., Brooklyn Museum, Diana Fane, Ira Jacknis, Lise M. Breen und Diana Fane. „Objects of Myth and Memory: American Indian Art from the Brooklyn Museum“. Journal of American Folklore 105, Nr. 418 (1992): 471. http://dx.doi.org/10.2307/541623.
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Klassen, Teri. „Representations of African American Quiltmaking: From Omission to High Art“. Journal of American Folklore 122, Nr. 485 (01.07.2009): 297–334. http://dx.doi.org/10.2307/40390070.
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Abstract African American quiltmaking began to gain recognition as an expressive form distinct from European American quiltmaking in the countercultural climate of the 1970s. Representations of it since then have served to update the Eurocentric, patriotic image of quiltmaking in the United States with components ofmulticulturalism and cultural critique. These representations in turn caused tensions along the lines of class, race, gender, and scholarly discipline. This study shows the power of words and things when used together, as in museum exhibits, to affirm or challenge the existing social order.
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Prior, Nick. „Edinburgh, Romanticism and the National Gallery of Scotland“. Urban History 22, Nr. 2 (August 1995): 205–15. http://dx.doi.org/10.1017/s096392680000047x.
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An explanation for the formation of the National Gallery of Scotland is proposed which affirms the priority of local conditions of cultural production. In the absence of a fecund tradition of art patronage in Scotland, the modernization of Edinburgh's art field in the early nineteenth century depended on the activities of civic elites. The Scottish model of art museum development resembled the later American model more than it did the earlier French one. What was particular to Edinburgh, though, was a strong form of Romanticism in the early nineteenth century. The romantic landscape trope indexed the security of bourgeois power by the 1830s. But its own role was to act as a catalyst in the formation of collection-oriented and professional art institutions, and of a gallery going public in the capital.
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Topsfield, Andrew. „Indian miniature paintings and drawings: The Cleveland Museum of Art catalogue of orient art. Part one. By Linda York Leach. (The Cleveland Museum of Art Catalogue Series.) pp. xvi, 324, 24 col. pl., illus. in b. and w. 2 maps. Ohio, The Cleveland Museum of Art, distrib. by Indiana University Press, 1986. US$65.00.“ Journal of the Royal Asiatic Society of Great Britain & Ireland 120, Nr. 1 (Januar 1988): 230–31. http://dx.doi.org/10.1017/s0035869x00164755.
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Winter, Irene J., und Oscar White Muscarella. „Bronze and Iron: Ancient Near Eastern Artifacts in the Metropolitan Museum of Art“. Journal of the American Oriental Society 113, Nr. 3 (Juli 1993): 492. http://dx.doi.org/10.2307/605413.
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Swallow, D. A. „Oriental art and the popular fancy: Otto Samson, ethnographer, collector and museum director“. Journal of the Royal Asiatic Society of Great Britain & Ireland 121, Nr. 1 (Januar 1989): 5–31. http://dx.doi.org/10.1017/s0035869x0016784x.
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I would like to thank the Royal Asiatic Society warmly for allowing me the privilege of giving today's lecture on Dr Otto Samson. It is both an honour and a responsibility to speak of a person whom one has never known and whom others knew so much better, and I should perhaps explain why I of all people should be standing here today.
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Prianti, Desi Dwi, und I. Wayan Suyadnya. „Decolonising Museum Practice in a Postcolonial Nation: Museum’s Visual Order as the Work of Representation in Constructing Colonial Memory“. Open Cultural Studies 6, Nr. 1 (01.01.2022): 228–42. http://dx.doi.org/10.1515/culture-2022-0157.
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Abstract The study of colonialism and its legacies have mostly left the category of memory studies. However, for the colonised subject, what they experienced in the past inevitably forms their present and future discourse. This study focuses on how the museum’s visual order articulates colonial memory. By looking at the work of representation, in this context museum’s visual order, this study investigates how memory lives on through the circulation of colonial memory that the museum simulates. Museum’s visual order translates how colonial memory should be remembered and celebrated as public knowledge. Although research on how museums affect society knowledge have been part of both memory and museum studies, those two studies barely touch upon museums’ role in translating colonial memory in the postcolonial nation. Memory lives on through its circulation in media forms. However, premeditation and mediation are made possible through articulating social and cultural sites, in this case, museums practice. In order to achieve its purposes, this research investigates public museums in different parts of Java, Indonesia which have colonial memory objects. The combination of field observation, document review, and visual method followed by focus group discussion between stakeholders and researchers are conducted to propose the research conclusion. This research argues that the museum’s visual order translates interrelated colonial memories to be accepted as a part of the history that forms the “existence” of the nation and to be appreciated as public knowledge that is shared and forms the national identity. In doing so, museum practice roams into the area of political visibility which decides the legibility of the narrative related to colonial memory. In addition, as museum practice is basically a colonial legacy, this research concludes that it is essential to deconstruct the practice from the perspective of the colonised.
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Pereda, Felipe. „Goya, Portraiture, and the (Impossible) Art of Deciphering Faces“. Journal of Medieval and Early Modern Studies 54, Nr. 1 (01.01.2024): 165–201. http://dx.doi.org/10.1215/10829636-10948531.
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Francisco de Goya's extraordinary portrait The Family of Charles IV (1800) was received with bewilderment by some of its first viewers. French visitors to the Prado Museum thought it was a disrespectful, if not humorous, depiction of the members of the royal family, and the portrait has since then challenged art historians’ interpretation of Goya's true intentions. Discussions have delved into whether the painting was meant to be a “caricature” of its subjects. This article revisits this problem by historicizing the debate on caricature in relation to the revival of physiognomy at the end of the eighteenth century, particularly the opposing positions of Johan Caspar Lavater and the Count of Buffon on the science of reading humans’ personality traits by the features of their faces. Not only was Goya well informed on the ongoing debate, but he also responded critically to it with his drawings and, of course, with his portraits.
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Riznychok, Irina A. „“The Man Who Clashed with Khrushchev”: Ernst Neizvestny in the American Press in the 1960s–1980s“. Izvestia of the Ural federal university. Series 2. Humanities and Arts 25, Nr. 1 (2023): 58–79. http://dx.doi.org/10.15826/izv2.2023.25.1.004.
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This article is devoted to the reception of Ernst Neizvestny’s art by the American daily and specialised press between the 1960s and 1980s. The research focuses on constructing the heroic image of Ernst Neizvestny based on several clichйs that are well-established in American culture: a fighter for freedom in art and an oppressed artist, “an artist in exile” after emigration. This article aims to fix the changes in the reception of Ernst Neizvestny’s oeuvre by American critics and journalists at different stages of the Cold War. The interdisciplinary approach contains the social, historical, and political factors that underlie artistic practice and necessitate the use of methods from different areas of the humanities including media and cultural studies. The main sources are reviews of solo exhibitions, interviews with the artist, notes, and articles in the American press. They are supplemented by video interviews with the sculptor from the archives of the National Centre for Contemporary Art (part of the Pushkin State Museum of Fine Arts) and the Garage Museum of Contemporary Art, Neizvestny’s published correspondence, as well as historical archival materials. If in the publications of the 1960s and 1970s, the authors were most interested in the relationship between Neizvestny and the Soviet authorities, at the end of the Détente, more analytical materials on art history appeared. The author concludes that the actualisation of a particular image depended on social and political factors, changes in the international cultural landscape, and the nature of the relationship between the two superpowers. The construction of the heroic image of Neizvestny in the US media became one of the tools of anti-Soviet propaganda in the cultural confrontation. An analysis of the reception of E. Neizvestny’s artworks helps reveal the ways in which ideas about Soviet art were produced and spread in American culture during the Cold War.
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Morrison, Chandra. „Public Art Replacement on the Mapocho River: Erasure, Renewal, and a Conflict of Cultural Value in Santiago de Chile“. Space and Culture 23, Nr. 2 (27.04.2018): 149–63. http://dx.doi.org/10.1177/1206331218770782.
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On January 18, 2011, the Museo Arte de Luz opened along Santiago’s Mapocho River. Developed by artist Catalina Rojas and the Santiago municipal government to mark Chile’s 2010 bicentenary, the light-art museum proposed to revitalize the river as a public space by converging heritage, contemporary art, and citizenship. Yet controversy lurked behind the newly gleaming lights: museum preparations included the erasure of several large graffiti murals painted along the canal walls. This article examines how the installation of the Museo Arte de Luz systematically removed graffiti muralism from the Mapocho River, drawing out deeper cultural tensions entangled in this aesthetic dispute. It analyses three interconnected discourses about the museum’s desired impact on the river—environmental regeneration, historical restoration, and symbolic recuperation—to illustrate how the erasure corresponds to official narratives of renewal. Ultimately, through its contradictions, this public art replacement raises important questions about public authority and cultural value in Chile.
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Stuart, Carolyn. „ReviewWACK! Art and the Feminist Revolution. Curated by Cornelia H. Butler. The Geffen Contemporary at the Museum of Contemporary Art, Los Angeles, March 4–July 16, 2007.WACK! Art and the Feminist Revolution. Exhibition catalog. Edited by Lisa Gabrielle Mark. Los Angeles: Museum of Contemporary Art, 2007.“ Signs: Journal of Women in Culture and Society 33, Nr. 2 (Januar 2008): 475–78. http://dx.doi.org/10.1086/521561.
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Simon, Janice. „Lessons in History: The Reinstallation of the American Wing of the Metropolitan Museum of Art“. Nineteenth Century Studies 25, Nr. 1 (01.01.2011): 279–89. http://dx.doi.org/10.5325/ninecentstud.25.2011.0279.
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Gąsior, Mariusz. „Transforming Photographs into a Digital Catalogue“. Culture Unbound 14, Nr. 2 (07.07.2022): 11–37. http://dx.doi.org/10.3384/cu.3971.
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In this article I focus on three aspects of the digitisation of photographic collections which I have had the opportunity to deal with professionally in two museums, in the UK and Poland. In 2014, the Imperial War Museum in London (IMW) implemented an online project of the portal/monument, Lives of the First World War, commemorating all citizens of the British Commonwealth who took part in the First World War (WWI), both in uniform and in civil services. Users registered on the portal could attach documents, photographs, reports to each commemorated soldier-keyword, thus expanding the database. One of the key elements of the project was a collection of portrait photographs bearing the title Bond of Sacrifice. These comprised over 16,000 photographs of soldiers of the British Commonwealth, handed over to the Museum by their families in the years 1917–1919. After nearly a hundred years, the Museum decided to comprehensively develop, digitize, and make the collection available in the form of an online catalogue. In the meantime, the Museum digitised a huge collection of WWI photographs, the so-called Q Series (ca. 115,000), the most important part of which was British official photography. By 2016, the entire collection was scanned and made available in an external catalogue of the Museum on the basis of a non-commercial license. Since then, the photographs have taken on a life of their own: they are used in academic works, press articles, TV productions, and in social medias. The second project includes numerous photographs of the Polish Armed Forces. This phenomenon is dealt with in the second part of this paper, which discusses the online photographic collection of the Silesian Museum in Katowice. The third and final part of this article is devoted to the impact of digitization and on-line accessibility on the making of temporary exhibitions. This is explained using the example of the author’s last exhibition at the museum about women in industry; based entirely on digital reproductions of photographs from the collections of many museums from Europe and the U.S., amongst others the US National Archives and the IWM. This is due to the fact that the author selected the entire material with the use of online catalogues of these very institutions.
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Krasuska, Karolina. „Gendering the Holocaust gallery in POLIN Museum of the History of Polish Jews“. European Journal of Women's Studies 26, Nr. 3 (21.06.2019): 247–60. http://dx.doi.org/10.1177/1350506819857220.
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Even though a gender perspective, in reference to various aspects of museums and their exhibits, permeates the reflection on museums, gender is not explicitly taken up as a category of knowledge within the self-reflective narratives about the core exhibition or the conceptualization of the Holocaust gallery in POLIN Museum of the History of Polish Jewish, which opened in Warsaw, Poland in 2014. Building upon the research gendering the memory of the Holocaust, especially with regard to historical exhibitions, and using a cultural studies framework to the study of representation, this article asks how femininities are framed by the representation of masculinities and how museum technologies work to produce gendered meanings. It concludes that most of the Holocaust gallery in POLIN problematically instrumentalizes gender relations to underpin a chronological historical narrative. In a dialogue with queer research on temporality, underscoring the coincidence of normative gender/sexuality and linear progressive narrative, it analyses this strategy as gender chronotechnology.
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Haubenreich, Jacob. „The Trail, the Archive, the Museum, and the Book: Confronting Materiality in Literary Studies“. New German Critique 47, Nr. 3 (01.11.2020): 141–78. http://dx.doi.org/10.1215/0094033x-8607647.
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Abstract This article examines the persistence of the notion of the immaterial text in literary studies, now decades into the so-called material turn. Digitization of manuscripts increasingly confronts us with the facts of textual materiality and material authorship, yet many scholars remain ill-equipped to engage these traces in order to expand the possibilities of textual interpretation. The journeys of Peter Handke’s notebooks serve as a case study on how to interrogate various definitions of text and methodological approaches that reinforce an understanding of texts as immaterial. This article thus elucidates the conceptual and methodological impediments to more comprehensively integrating materiality into interpretation; an uneasiness, for example, about approaching authorship—the process and agency of textual production—lingers despite resurrections since the Author’s “death” and more recent transdisciplinary retheorizations of agency. The article finally looks to reflections on materiality in another field, art history, to clarify the reasons that integrating materiality into interpretative criticism remains so difficult, so that the field might begin to move beyond these obstacles.
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Paulson, Ronald, und Richard Dorment. „British Painting in the Philadelphia Museum of Art: From the Seventeenth Through the Nineteenth Century.“ Eighteenth-Century Studies 21, Nr. 4 (1988): 527. http://dx.doi.org/10.2307/2738914.
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Rivera-Carlisle, Joanna. „CONTEXTUALISING THE CONTESTED: XR AS EXPERIMENTAL MUSEOLOGY“. Herança 6, Nr. 1 (08.03.2023): 15–31. http://dx.doi.org/10.52152/heranca.v6i1.676.
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Museums are becoming increasingly multi-medial experiences and with the emergence of the metaverse (Coates, 2021), immersive technologies (XR) are projected to form an important part of future museum experiences. With options to provide a multiplicity of non-hierarchical information, support individualised paths through exhibitions, and experiential visits, XR has the potential to help keep visitors engaged around complex and nuanced information (Mulcahy, 2017). Working on devices that most museum visitors already own, XR technologies present a promising move towards more inclusivity, accessibility, and active audience engagement. Contributing to research on the multiple uses of XR in UK museums, this paper focuses on how XR can be operationalised to address contested displays in Western museums. Using an external app for the British Museum as an example, this paper discusses the challenges arising from this intersection, including the entrenchment of immersive technologies in colonial power dichotomies, the risks of performative virtual interventions, and the conflicting agencies museums, companies, and individuals must navigate in this context. The author suggests, as a possible experimental approach, wiki-based XR interactions which engage with non-Eurocentric epistemologies and are co-created by communities commonly disenfranchised in Western museum spaces.
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Rivera-Carlisle, Joanna. „CONTEXTUALISING THE CONTESTED: XR AS EXPERIMENTAL MUSEOLOGY“. Herança 6, Nr. 1 (08.03.2023): 53–68. http://dx.doi.org/10.29073/heranca.v6i1.676.
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Museums are becoming increasingly multi-medial experiences and with the emergence of the metaverse (Coates, 2021), immersive technologies (XR) are projected to form an important part of future museum experiences. With options to provide a multiplicity of non-hierarchical information, support individualised paths through exhibitions, and experiential visits, XR has the potential to help keep visitors engaged around complex and nuanced information (Mulcahy, 2017). Working on devices that most museum visitors already own, XR technologies present a promising move towards more inclusivity, accessibility, and active audience engagement. Contributing to research on the multiple uses of XR in UK museums, this paper focuses on how XR can be operationalised to address contested displays in Western museums. Using an external app for the British Museum as an example, this paper discusses the challenges arising from this intersection, including the entrenchment of immersive technologies in colonial power dichotomies, the risks of performative virtual interventions, and the conflicting agencies museums, companies, and individuals must navigate in this context. The author suggests, as a possible experimental approach, wiki-based XR interactions which engage with non-Eurocentric epistemologies and are co-created by communities commonly disenfranchised in Western museum spaces.
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Gajewska-Prorok, Elżbieta. „WOJCIECH ANTONI JANUSZ GLUZIŃSKI (1922–2017)“. Muzealnictwo 58 (22.09.2017): 0. http://dx.doi.org/10.5604/01.3001.0010.4748.
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Wojciech A.J. Gluziński, a philosopher and an outstanding Polish theoretician of museology, passed away on 26 March 2017. He was born on 31 March 1922 into an intellectual family in Lviv. He commenced studying philosophy in 1945 at the Jagiellonian University in Cracow, and continued at the Faculty of Humanities at the University & Polytechnic in Wrocław. He got an MA in philosophy in 1952, but even in 1949 he had already started working in the Old Townhouse (later the Historical Museum of the City of Wrocław), a branch of the Silesian Museum (since 1970 the National Museum) in Wrocław. He was connected with the National Museum until the end of his career. In the following years he held the posts of Head of Historical Department, Head and later Curator of the Department of History of Material Culture, and was the museum’s advisor and counsellor from 1991 to 1995. He organised a dozen permanent and temporary exhibitions during more than 40 years of working. He wrote numerous articles published in such periodicals as: “Annual of the Kłodzko Region”, “Annual of Silesian Ethnography” and “Annual of Silesian Art”. His long-term studies on the theory of museology resulted in a doctoral dissertation entitled Philosophical and methodological problems of museology written under the supervision of Prof. Kazimierz Malinowski in 1976 in the Institute of Conservation and Historic Monuments Studies at the Copernicus University in Toruń. The edited work was published in 1980 as a book entitled Underlying museology. Gluziński shared his opinions at numerous conferences abroad, and published articles in post-conference materials, including in “ICOFOM Study Series”, “Muzeologické Sešity” and in “Neue Museumskunde. Theorie und Praxis der Museumsarbeit”.
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Gilligan, Sarah. „Fashioning Masculinities: Critical reflections on curation and future directions in masculinity studies“. Critical Studies in Fashion & Beauty 14, Nr. 1 (01.06.2023): 87–104. http://dx.doi.org/10.1386/csfb_00056_3.
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Fashioning Masculinities: The Art of Menswear at the V&A Museum in London (19 March–6 November 2022) marked a significant curatorial and cultural moment. Curated by Claire Wilcox, Rosalind McKever and Marta Franceschini, the exhibition explored the shifting landscape of menswear by focusing on the intersections among fashion, art, time and gender. This review essay critically reflects on the curation of the Fashioning Masculinities exhibition and the accompanying two-day symposium (13–14 October 2022) co-convened by the V&A and the Masculinities Research Hub at London College of Fashion. It argues for the need for interdisciplinary research and curation on menswear and masculinity studies to explore a plurality of intersectional identities. Additionally, this article argues for the importance of engaging diverse audiences across the sector with rich stories of making, wearing and fashioning identities. There remains considerable scope to move beyond a focus upon historical dress and luxury designer items, to include the often invisible and untold narratives of ordinary and everyday dress.
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Root, Dolores. „: Museum Studies in Material Culture . Susan M. Pearce.“ American Anthropologist 93, Nr. 4 (Dezember 1991): 983–84. http://dx.doi.org/10.1525/aa.1991.93.4.02a00460.
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Almudéver Chanzà, Josep, Alessandra Benedicty-Kokken und Fanny Wonu Veys. „Rethinking gender from the ethnographic museum. Introduction to the special issue“. Journal of Material Culture 28, Nr. 4 (Dezember 2023): 501–14. http://dx.doi.org/10.1177/13591835231210664.
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The present proposed volume takes as its fulcrum the concept of gender, and in its most simple iteration asks: What happens when, we – that is, the varied individuals and communities who take a vested interest in the collections housed by ethnographic museums – think more deliberately from the objects in our museums? How might we theorize gender in ways that allow us to think our relationships to each other in Povinelli's (2011) ‘otherwise’ ways? Ultimately this volume brings together cutting-edge thinking in gender studies, material culture, and museum practice, centering the lens on the ethnographic as a critical category of analysis that continues to regiment how we organize the very collections in our museums.
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Cohoon, Leila. „Leila's Hair Museum“. Frontiers: A Journal of Women Studies 17, Nr. 2 (1996): 122. http://dx.doi.org/10.2307/3346602.
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Bahia, Ana. „GAME DESIGN AT THE ART MUSEUM: THE NUBLA CASE OF EDUCATHYSSEN“. Herança 6, Nr. 1 (08.03.2023): 53–68. http://dx.doi.org/10.29073/heranca.v6i1.681.
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O artigo discute um dos principais projetos do departamento educativo do Museu Nacional Thyssen-Bornemisza (Madri/ES): Nubla: Laboratorio de Arte, Educación y Videojuegos, projeto esboçado em 2013, que ganhou corpo entre 2015-2017 e segue em curso. Neste artigo, busca-se compreender o que define Nubla e de que forma diferencia-se dos jogos digitais criados pelo EducaThyssen anteriormente, desde 2001. Foram utilizados os procedimentos de: pesquisa exploratória, nas plataformas online da instituição, e revisão bibliográfica. Primeiramente, o artigo contextualiza e descreve o caso Nubla. Então, discute como esse laboratório explora a linguagem dos videogames, o processo de game design e o desenvolvimento de produtos midiáticos. Destaca que o EducaThyssen realiza tudo isso de forma colaborativa, com o público jovem e através de parcerias com universidades e empresas da indústria de videogames. Por fim, analisa Nubla a partir dos conceitos “visitante ativo” (1998) e “pós-museu” (2000) de Eilean Hooper-Greenhill; e “ecossistema comunicativo” (2004) e “museu plural” (2000) de Jesús Martín-Barbero. Conclui que Nubla contribui para transformações de práticas e valores, não apenas no âmbito do museu, mas nas áreas de arte, de educação e na indústria dos videogames.
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Reist, Inge. „The Impact of Travel on American Collectors during the Long Nineteenth Century“. Nineteenth Century Studies 33, Nr. 1 (01.12.2021): 200–216. http://dx.doi.org/10.5325/ninecentstud.33.0200.
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Abstract This essay focuses on the ways in which travel broadened and deepened later nineteenth-century American collectors’ interests in cultures different from their own. Like many Gilded Age traveler-collectors, the figures profiled here—Isabella Stewart Gardner (1840–1924), Charles Lang Freer (1854–1919), Louisine Havemeyer (1855–1929), Henry (1849–1919) and Helen Clay Frick (1888–1984), and Phoebe Hearst (1842–1919)—were affluent and curious. Quotations from diaries, letters, and memoirs underscore the role travel played in educating them. Gardner’s constant travels to Italy solidified the direction her collecting would take, while Freer’s unwavering interest in the arts of many cultures of Asia prompted repeated visits to that continent. Havemeyer’s recollections of Spain spurred her desire to collect the art of El Greco (1541–1614) well before other Americans developed an appreciation of that artist, and letters and travel diaries illuminate Phoebe Hearst’s and Helen Clay Frick’s self-education through museum visits, in Hearst’s case affecting as well the later collecting obsessions of her son, William Randolph Hearst (1863–1951). While these collectors were often drawn to objects because they saw them as exotic, museums today seek to understand the objects they acquired within the context of their creators’ cultures.
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Soucek, Priscilla P. „Persian Drawings in the Metropolitan Museum of Art. Marie Lukens Swietochowski , Susan Babaie“. Journal of Near Eastern Studies 54, Nr. 1 (Januar 1995): 74–75. http://dx.doi.org/10.1086/373737.
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Rodríguez-Negrón, Iraida. „“A true Patron without any pretense of being one”: William H. Stewart, His Album, and His Friends from the Modern Spanish School in Nineteenth-Century Paris“. Nineteenth Century Studies 33, Nr. 1 (01.12.2021): 217–41. http://dx.doi.org/10.5325/ninecentstud.33.0217.
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Abstract The art collection of William H. Stewart (1820–97), an American expatriate who lived in Paris during the second half of the nineteenth century, comprised more than two hundred paintings by contemporary American and European artists and was lauded as the most outstanding compilation of works by artists of the modern Spanish school. Following the collection’s dispersal at auction in 1898, Stewart’s reputation as a patron began to diminish. This essay aims to rehabilitate Stewart, further the appreciation of his contributions, and shed light on the connections he established with some of the most popular artists of the period, especially those of Spanish origin living in Paris. These relationships are highlighted in “The Stewart Album,” now in the collection of the Meadows Museum in Dallas, Texas. This extraordinary compendium of primary sources is a testament to Stewart’s connoisseurship and taste and the important place he occupied in the international art scene during the last four decades of the nineteenth century. By considering the material within the album together with other contemporary sources, a clearer picture of a formidable artistic patron emerges, one who not only developed personal relationships with artists but also promoted Spanish art and culture among his American friends.
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Hansen, Susan. „“Pleasure stolen from the poor”: Community discourse on the ‘theft’ of a Banksy“. Crime, Media, Culture: An International Journal 12, Nr. 3 (22.06.2016): 289–307. http://dx.doi.org/10.1177/1741659015612880.
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The removal of street art from community walls for private auction is a morally problematic yet legal action. This paper examines community reactions to the removal of Banksy’s No Ball Games for private auction. Five hundred unique reader comments on online newspaper articles reporting this controversial event were collected and analyzed. An emerging set of urban moral codes was used to position street art as a valuable community asset rather than as an index of crime and social decay. The latter discourse informed a repertoire that depicted No Ball Games as unlawful graffiti that was rightfully removed. Here, the operations of ‘the police’ (Rancière, 1998: 17) in the distribution of the sensible are evident in the assertions that validate and depoliticize the removal of No Ball Games. This repertoire was used to attribute responsibility for the work’s removal to deterministic external forces, while reducing the accountability attributable to those responsible for the removal of the work. A contrasting anti-removal repertoire depicted street art as a gift to the community, and its removal as a form of theft and a source of harm to the community. The pro-removal repertoire incorporates and depoliticizes elements of the anti-removal repertoire, by acknowledging the moral wrong of the removal, but yielding to the legal rights of the wall owners to sell the work; and by recognizing the status of street art as valuable, but asserting that the proper place for art is a museum. The anti-removal repertoire counters elements of the pro-removal repertoire, by acknowledging the illegality of street art, but containing this to the initial act of making unsanctioned marks on a wall, after which point the work becomes the property of the community it is located within. This analysis reveals an emergent set of urban moral codes that positions a currently legal action as a form of criminal activity.