Relevant bibliographies by topics / Museums Victoria History

Academic literature on the topic 'Museums Victoria History'

Author: Grafiati
Published: 10 December 2022
Last updated: 28 January 2023

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Journal articles on the topic "Museums Victoria History"

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Hakiwai, Arapata, and Paul Diamond. "Plenary: The legacy of museum ethnography for indigenous people today - case studies from Aotearoa/New Zealand." Museum and Society 13, no. 1 (January 1, 2015): 107–18. http://dx.doi.org/10.29311/mas.v13i1.320.

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The following plenary took place at the seminar ‘Reassembling the material: A research seminar on museums, fieldwork anthropology and indigenous agency’ held in November 2012 at Te Herenga Waka marae, Victoria University of Wellington, Aotearoa New Zealand. In the papers, indigenous scholars and museum professionals presented a mix of past legacies and contemporary initiatives which illustrated the evolving relations between Māori people, and museums and other cultural heritage institutions in New Zealand. Whereas most of the papers at this seminar, and the articles in this special issue, are focused on the history of ethnology, museums, and government, between about 1900 and 1940, this section brings the analysis up to the present day, and considers the legacy of the indigenous engagement with museums and fieldwork anthropology for contemporary museum practice. What do the findings, which show active and extensive indigenous engagements with museums and fieldwork, mean for indigenous museum professionals and communities today?
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Charman, Helen. "REINVENTING THE V&A MUSEUM OF CHILDHOOD." Muzealnictwo 61 (June 30, 2020): 117–26. http://dx.doi.org/10.5604/01.3001.0014.2637.

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In 2018 the Victoria and Albert Museum launched a capital project to transform the Museum of Childhood from a museum of the social and material history of childhood to a powerhouse of creativity for the young. This paper therefore takes the reinvention of the MoC as a case study to explore the process of change and the key drivers for inculcating and realising the transformed museum. In particular, the process of co-design with and for young people is considered as a mechanism for change in creating future facing museums that speak to the needs of young people in a rapidly changing and complex world.
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Upchurch, Michael. "Hinemihi o te Ao Tawhito." Museum Worlds 8, no. 1 (July 1, 2020): 188–203. http://dx.doi.org/10.3167/armw.2020.080113.

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This report discusses the overriding significance of cross-cultural relationships in heritage management and conservation with regard to Hinemihi o te Ao Tawhito, the whare whakairo (“carved meeting house”) “displaced” in the late nineteenth century from Te Wairoa in Aotearoa New Zealand to Clandon Park in England. Looking at the history and meanings of the meeting house through the relationships of those who interacted with her, it demonstrates how listening, learning, and understanding are at the heart of improving professional practice in museums and heritage practice globally. This article is derived from and expands upon an assignment written for the course MHST507 “Museums and Māori” taught by Awhina Tamarapa as part of the PG-Dip in Museum and Heritage Practice at Te Herenga Waka Victoria University of Wellington in May 2020.
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Rowley, Chris, and Joanne Taylor. "Implementing 'Museum Victoria Wireless Input System for EMu (MVWISE)' Barcoding for Location Management of a Wet Type Collection." Biodiversity Information Science and Standards 2 (June 13, 2018): e26178. http://dx.doi.org/10.3897/biss.2.26178.

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The Non-Arthropod Wet Type Collection consists of approximately 1660 lots of specimens spread across 13 phyla. The collection covers a range of taxa including Annelida (earthworms, leeches, bristle worms); Echinodermata (sea stars, brittle stars, sea cucumbers); Mollusca (snails, octopus, squid, cuttlefish); Porifera (sponges); Cnidaria (anemones, hydroids). The majority of specimens in the collection are preserved in 70% ethanol or 10% formalin. Being a collection of zoological type specimens, this collection is considered to be of high scientific value and is irreplaceable. Concerns over possible deterioration and a lack of documented history of preservation, led the Museums Victoria Marine Invertebrate Section and Conservation Department to undertake an audit to assess and document the current state of the collection. The aim of the assessment was to: establish baseline data covering the physical condition of specimens, jars and seals. assess the chemical properties of the preservation fluid. where required, undertake appropriate preventative and remedial treatment. data gathered from the audit will be loaded onto the museum’s database (EMu). As part of the audit, implementation of a storage location management system using Museums Victoria Wireless Input System for EMu (MVWISE) was incorporated into the project. Storage location management using MVWISE ensures that object and container records have their current Location updated in EMu when they are physically moved. Implementing object barcoding in a collection that is preserved in fluid where specimens are tiny and stored in vials is problematic. We report on the strategy used to overcome these issues without compromising the best practice for fluid preserved specimens. Advantages of barcoding the fluid preserved specimens of the Invertebrate Type Collection at Museums Victoria include the ability to easily audit the collection even when the taxonomic nomenclature has changed.
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Christensen, Jørgen Riber. "Four steps in the history of museum technologies and visitors' digital participation." MedieKultur: Journal of media and communication research 27, no. 50 (June 27, 2011): 23. http://dx.doi.org/10.7146/mediekultur.v27i50.2982.

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The hypothesis of this article is that the authentic and auratic exhibited objects in museums enter into a dialogue with surrounding paratexts. The paratexts anchor and change the meaning of the exhibited object in the museum context. Recent years have indicated a tendency for museum paratexts to grow increasingly allographic, i.e., visitors generate them both in situ and online as a part of Web 2.0 participation. The verification and documentation of this hypothesis are partly empirical, partly historical. The empirical research consists of an examination of the exhibition and display technologies used today in three different museums and galleries: the Bode Museum in Berlin, the Victoria and Albert Museum and Dr. Johnson's House in London.<br />&nbsp;&nbsp;&nbsp; The historical verification and documentation in this article describe four steps in the development of exhibition technologies: the Boydell Shakespeare Gallery (1789-1805), the post-photographic museum (the 1850s), audio guides, as well as a special focus on how museum paratexts have become independent today in its digital and participatory form. In this way, the article sketches the historical development of curating towards the digital and paratextual participation of visitors and audience. Here the argumentation is based on how the displayed object creates signification in its position between its autonomy and its contexts. The following display technologies are described and analysed: stipple engraving, photography, the audio guide, and the interactive, digital Anota pen and its Internet server.<br />&nbsp;&nbsp;&nbsp; In conclusion, the article asks where the place of signification or meaning of the exhibited object has moved to in the face of the increased degree of visitor participation. The tentative answer is that the signification generating process has moved away from the historical context of the object and towards the contemporary world of the visitor. The article connects this change in cultural discourse with Karin Sander's archaeological imagination and in a wider sense with the concept of negotiation from new historicism.<br /><br />
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Measday, Danielle, and Rosemary Goodall. "Measuring and Mitigating Mercury Gases in the Museums Victoria Collection." Biodiversity Information Science and Standards 2 (June 13, 2018): e27044. http://dx.doi.org/10.3897/biss.2.27044.

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For the past six years the conservation and collection management departments at Museums Victoria have been conducting a major survey to determine the type and extent of hazardous substances in the collections to better inform safe handling and storage practices. This paper focuses on mercury compounds in the collection, including mercury chloride applied as a pesticide, mercury sulfide pigments, liquid mercury used in scientific equipment, and mineral specimens such as native mercury and cinnabar. All these compounds can release volatile mercury vapour into storage furniture and have the potential to contaminate both the cabinet and other specimens stored nearby. Although previous testing had confirmed that the air in storage rooms and workspaces contained no detectable levels of mercury vapour, recent publications by Hawks et al. 2004, Havermans et al. 2015 and Marcotte et al. 2017 showing high levels of mercury vapour inside storage containers in herbaria raised concern that there could be higher than acceptable levels of mercury vapour building up inside storage cabinets at Museums Victoria. This prompted analysis of the headspace in cabinets using a Jerome J405 portable mercury vapour meter. Testing was informed by the results of previous hazards surveys using X-ray fluorescence spectrography to target cabinets where mercury vapour was likely to be present. Air from cabinets was sampled across the indigenous cultures, history, technology and natural sciences collections. Results showed levels of mercury vapour could be considerably above 25 μg/m3 the Australian time-weighted average (TWA) exposure standard for an 8 hour workday in cabinets of bird skins and indigenous artefacts treated with mercuric chloride pesticides. Results above 150 μg/m3 the temporary emergency exposure level (TEEL) were measured in the mineralogy collection. Mitigation strategies are being implemented to reduce the risks to staff health and contamination of other collection materials, including enclosing mercury-containing species of minerals in gas barrier film, venting high risk cabinets to dissipate vapour before accessing specimens, and engineering controls during the handling of specimens.
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Flour, Isabelle. "‘On the Formation of a National Museum of Architecture: the Architectural Museum versus the South Kensington Museum." Architectural History 51 (2008): 211–38. http://dx.doi.org/10.1017/s0066622x00003087.

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Architectural casts collections — the great majority of which were created in the second half of the nineteenth or the early twentieth centuries — have in recent years met with a variety of fates. While that of the Metropolitan Museum in New York has been dismantled, that of the Musée des Monuments Français in Paris has with great difficulty been rearranged to suit current tastes. Notwithstanding this limited rediscovery of architectural cast collections, they remain part of a past era in the ongoing history of architectural museums. While drawings and models have always been standard media for the representation of architecture — whether or not ever built — architectural casts seem to have become the preferred medium for architectural displays in museums during a period beginning in 1850. Indeed, until the development of photography and the democratization of foreign travel, they were the only way of collecting architectural and sculptural elements while preserving their originals in situ. Admittedly, the three-dimensional experience of full-sized architecture in the form of casts, or even of actual fragments of architecture, played a considerable part in earlier, idiosyncratic attempts to display architecture in museums, indeed as early as the late eighteenth century. Nevertheless, it was only from the mid-nineteenth century that they became the preferred medium for displaying architecture. The cult of ornament reached its climax in the years 1850–70, embodied, in the field of architecture, in the famous ‘battle of styles’ and in the doctrine of ‘progressive eclecticism’, and, in the applied arts, in attempts at reform, given a fresh impetus by the development of international exhibitions. It is not surprising, then, that the first debate about architectural cast museums should have been generated in the homeland of the Gothic Revival and of the Great Exhibition of 1851. For it was in London that this debate crystallized, specifically between the Architectural Museum founded in 1851 and the South Kensington Museum (now known as the Victoria and Albert Museum) created in 1857.
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Schamberger, Karen. "‘Still Children of the Dragon’? A review of three Chinese Australian heritage museums in Victoria." Australian Historical Studies 42, no. 1 (March 2011): 140–47. http://dx.doi.org/10.1080/1031461x.2010.541471.

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Harris, Neil. "Karen A. Rader and Victoria E. M. Cain.Life on Display: Revolutionizing U.S. Museums of Science and Natural History in the Twentieth Century." American Historical Review 120, no. 5 (December 2015): 1911–12. http://dx.doi.org/10.1093/ahr/120.5.1911.

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Rutherford-Morrison, Lara. "Playing Victorian." Public Historian 37, no. 3 (August 1, 2015): 76–101. http://dx.doi.org/10.1525/tph.2015.37.3.76.

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The British heritage industry has long been a subject for debate in the UK, with critics arguing that heritage invests history with a nostalgic idealism that sanitizes and simplifies the nation’s past. This article examines Blists Hill Victorian Town, a British living history museum that purports to re-create everyday industrial life of the 1890s, within the context of these debates, arguing that Blists Hill portrays the late-Victorian period with more complexity than many critics would allow. Shifting the lens of how such sites have typically been evaluated—away from questions of authenticity, to instead focus on how living history museums engage visitors in meaningful play—I consider the ways that Blists Hill promotes creative learning through an imaginative, visceral engagement with history.
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Dissertations / Theses on the topic "Museums Victoria History"

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Parsons, Thad. "Science collection, exhibition, and display in public museums in Britain from World War Two through the 1960s." Thesis, University of Oxford, 2009. http://ora.ox.ac.uk/objects/uuid:16cadaac-fb44-4edf-9063-d6ee6a9ffd09.

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Science and technology is regularly featured on radio, in newspapers, and on television, but most people only get firsthand exposure to ‘cutting-edge’ technologies in museums and other exhibitions. During this period, the Science Museum was the only permanent national presentation of science and technology. Thus, it is important to acknowledge the Museum’s history and the socio-political framework in which it operated. Understanding the delays in the Museum’s physical development is critical, as is understanding the gradual changes in the Museum’s educational provision, audience, and purpose. While the Museum was the main national exhibition space, the Festival of Britain in 1951 also provided a platform for the presentation of science and technology and was a statement of Britain’s place within the new post-War world. Specifically, within its narrative, the Festival addressed the relationship between the arts and the sciences and the influence of science and technology on daily life. Another example of the presentation of science was the quest for a planetarium in London - a story that involves the Science Museum, entrepreneurs, and Madame Tussauds. Comparing the Museum’s efforts with successful planetarium schemes isolates several of the Museum’s weaknesses - for example, the lack of consistent leadership and the lack of administrative and financial freedom - that are touched on throughout the work. Since most of this history is unknown, this work provides a fundamental basis for understanding the Museum’s current position, for making connections and comparisons that can apply to similar problems at other institutions, and for learning lessons from the struggles that can, in turn, be applied to other institutions.
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Mikasa, Princess Akiko of. "Collecting and displaying 'Japan' in Victorian Britain : the case of the British Museum." Thesis, University of Oxford, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.669978.

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Williams, Erin Colleen. "A History Revealed: The Inventions of Minnie Eureka Young." VCU Scholars Compass, 2007. http://scholarscompass.vcu.edu/etd_retro/99.

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With my thesis work I question the evidence of history and how this evidence is read. I examine the theory of fractured history and alternate history, two examples of how perception of the past is completely altered when the science of reality is merged with imagination and mystery. As a vehicle for this examination, I use my own family history, something I am familiar with on many levels but also completely foreign to. As a curator of the story of my own history, I ask, "How can we know what is real?" and "If I say it is real, does that make it so?"
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Parker, Angela. "The History and Educational Legacy of the Manchester Art Museum, 1886-1898." VCU Scholars Compass, 2014. http://scholarscompass.vcu.edu/etd/623.

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This thesis examines the history of the Manchester Art Museum (Manchester, England), which was founded by Thomas Coglan Horsfall (1841-1932) in 1886. It considers the museum’s permanent collections and its programming from 1886 to 1898 with brief notes on the later years of the institution. While, like previous work on the Manchester Art Museum, the thesis contextualizes the museum within Victorian arts and community institutions, it breaks new ground by highlighting the ways in which it diverged from these institutions. The analysis of the museum’s collections and programming emphasizes the contributions that Horsfall and the Art Museum Committee made to museum education through the museum’s circulating loan collections and school tours.
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Harris, Kathryn Leann. "Innocent Victors| Atomic Identity at the American Museum of Science and Energy in Oak Ridge, Tennessee." Thesis, University of Massachusetts Boston, 2019. http://pqdtopen.proquest.com/#viewpdf?dispub=13420363.

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In 2009, the American Museum of Science and Energy (AMSE) in Oak Ridge, Tennessee debuted an updated history exhibit about the town’s role as one of three secret cities in the Manhattan Project. The exhibit presented a celebratory tone in honor of the innocent people who unknowingly and victoriously participated in the construction of the atomic bomb that aided the Allies in their successful end of WWII. The exhibit omitted the larger national, political nuclear discussion that took place over the following sixty-five years, cementing a long-held victory culture identity. In a 2009 world, the AMSE exhibit seemed incomplete, if not obtuse. Innocent Victors traces the history of AMAE/AMSE to examine the social, cultural, and political path that resulted in the 2009 and final AMSE exhibits. An analysis of public history commemoration trends, America’s twentieth century identity politics, and a chronicle of historical interpretation in Oak Ridge reveal a divergence in understood commemoration practices. Established public history theory suggests that the official and vernacular voices form a dichotomous relationship when interpreting the historical narrative. This thesis holds significant implications for examining the intersections between community and government perspectives on the historical narrative. This study also unearths specific theoretical and methodological barriers to interpreting the atomic bomb at public spaces in the United States. Moreover, Innocent Victors presents a commentary on the ongoing national discussion about the past, present, and future placement of the atomic bomb in American politics, ideology, and society.

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Kjellström, Charlotta. "Museum Gustavianumssamling från utgrävningarna i Sedment : En efterforskning av de föremål som Museum Gustavianum förvärvade efter Petries och Bruntons utgrävningar i Sedment vintern 1920 - 1921." Thesis, Uppsala universitet, Institutionen för arkeologi och antik historia, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-446929.

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One aim of this essay is to conduct a thorough investigation into the origins of the objects inthe Victoria Museum, Gustavianum, collection VM 346–362 (the sequence expanded, later inthe project, also to include VM 346) and how they got there. This will be achieved byfollowing the paper trail back to the excavation in Egypt. The other is to describe how objectsfrom digs were spread between museums and different countries by W.M. Flinders Petrie.Questions have been raised about the perceived origins of the objects in the Gustavianumcollection VM 346–362. The collection has until recently been believed to be the funeraryobjects of the First Intermediate Period man Wadjet-hetep. In 1921 this collection was mostlikely bought by the Victoria Museum through Pehr Lugn, from W.M. Flinders Petrie, somemonths after Petrie and Brunton ended their excavation season of 1920/21 in Sedment, Egypt.However, the collection as a whole cannot be the funerary objects of Wadjet-hetep, since themajority of those are owned by and exhibited at Ny Carlsberg Glyptotek, Denmark.The one confirmed belonging of Wadjet-hetep in the Gustavianum VM-collection is the innercoffin which has his name on it. The collective memory of the museum claims that fivewalking sticks, also currently in the VM-collection, were found with the mummy inside theinner coffin at the excavation site. Unfortunately, the museum archive is extensively damagedand contains nothing that can tell us about the collection's origins.By investigating external sources, Petrie and Brunton’s accounts of the excavation, as well asonline catalogues and archives, the VM collection can be backtracked to Sedment. The resultsconclude that the objects in the collection derive from different tombs and periods.
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Knoell, Tiffany L. ""So You Want To Be A Retronaut?": History and Temporal Tourism." Bowling Green State University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1587590767297251.

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Waite, Julia. "Under construction : national identity and the display of colonial history at the National Museum of Singapore and the Museum of New Zealand Te Papa Tongarewa : a thesis submitted to the Victoria University of Wellington in partial fulfilment of the requirements for the degree of Master of Museum and Heritage Studies /." ResearchArchive@Victoria e-Thesis, 2009. http://hdl.handle.net/10063/1039.

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Henderson, Ashley S. Hafertepe Kenneth C. ""The ace of clubs" a social and architectural history of the Draughon-Moore House, Texarkana, Texas, 1885-1985 /." Waco, Tex. : Baylor University, 2008. http://hdl.handle.net/2104/5246.

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Hook, Sarah. "Reading the gallery : portraits and texts in the mid- to late nineteenth century." Thesis, University of Oxford, 2017. https://ora.ox.ac.uk/objects/uuid:87ad5989-055a-4777-9418-5f636afd6f96.

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The Victorians saw more portraits than any generation before them. While the eighteenth century has been named 'the age of portraiture', portraits pervaded nineteenth-century society like never before. With the invention of photography, coupled with technological advancements in low-cost printing methods, the medium in which faces could be recorded was revolutionised, the classes of society that could afford to be immortalised expanded, and the spaces in which portraits were seen proliferated. These spaces included the public gallery, photography studio shop windows, and personal photograph albums. They also included the art periodical, biography, fiction, and poetry as the experience of portraiture became distinctly textual as well as visual. This thesis draws upon art history alongside literary, museum, and material studies to explore the creative exchange that developed between portrait viewership and reading practices in the mid- to late nineteenth century. Taking the establishment of the National Portrait Gallery in 1856 as its starting point, the thesis tracks the changing idea of the portrait gallery through its literary reception. It takes the portrait gallery to mean the physical space in which portraits were exhibited, and the conceptual idea of collecting, arranging, and interacting with portraits that permeated into the literary world. By focussing on the work of Edmund Gosse, Walter Pater, Thomas Hardy, and Vernon Lee, the thesis forms a 'gallery' of nineteenth-century tastemakers, each of whom looked to the democratic art of portraiture to reflect upon their literary art. How did portraits and texts interact in the mid- to late nineteenth century? In what ways did writers adapt the conventions of portraiture and the portrait gallery for the written text? This thesis seeks to answer these questions and provide new narratives about the complex relationship between the visual and the verbal in nineteenth-century culture. It observes the Victorian 'culture of art' with a more focussed eye to illuminate how the conditions of viewing, circulating, and collecting portraits specific to the period allowed the portrait gallery to serve as a particularly compelling arena for the literary imagination. Gosse, Pater, Hardy, and Lee tested the inherent limitations of portraiture as an art of imitation to realise its imaginative capacity for communicating with close and distant, contemporary and historic figures. They recognised that writing offered a valuable way of constructing the affective conversations that could be had with - and the stories that could be told about - portraits and portrait collections. With the proliferation of portraits came the problem and the opportunity of organising them.
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Books on the topic "Museums Victoria History"

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Rasmussen, Carolyn. A museum for the people: A history of Museum Victoria and its predecessors, 1854-2000. Melbourne: Scribe Publications, 2001.

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Treasures of the Museum, Victoria, Australia. Melbourne: Museum Victoria, 2004.

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The Victoria Memorial Hall: An overview. Kolkata: R.N. Bhattacharya, 2010.

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Turnbull, Morris Peter John, ed. Science for the nation: Perspectives on the history of the Science Museum. New York: Palgrave Macmillan, 2010.

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A people learning: Colonial Victorians and their public museums, 1860-1880. North Melbourne, Vic: Australian Scholarly, 2007.

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On exhibit: Victorians and their museums. Charlottesville: University Press of Virginia, 2000.

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Continent of curiosities: A journey through Australian natural history. Cambridge: Cambridge University Press, 2006.

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Clode, Danielle. Continent of curiosities: A journey through Australian natural history. Cambridge, UK: Cambridge University Press, 2006.

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Museum, Victoria and Albert, ed. Photography, an independent art: Photographs from the Victoria and Albert Museum 1839-1996. London: V & A Publications, 1997.

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Haworth-Booth, Mark. Photography, an independent art: Photographs from the Victoria and Albert Museum, 1839-1996. Princeton, NJ: Princeton University Press, 1998.

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Book chapters on the topic "Museums Victoria History"

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Jones, Mike. "Museums Victoria and the history of museum computing." In Artefacts, Archives, and Documentation in the Relational Museum, 41–63. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003092704-2-3.

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Adamson, Glenn, and Giorgio Riello. "Global objects: contention and entanglement." In Writing the History of the Global. British Academy, 2013. http://dx.doi.org/10.5871/bacad/9780197265321.003.0012.

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This chapter considers objects as displayed in museums, architecture, and consumer goods. It unwraps the meanings of a Japanese suit of armour in the Tower of London, and then moves on to discuss the hybrid architecture and design of the Chhatrapati Shivaji Terminus, known in the West as the Victoria Terminus in Mumbai. In a final example, the case of football and soccer evokes debates on globalization and the global condition.
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Abungu, George Okello. "Victims or victors." In The Oxford Handbook of Museum Archaeology, C12–268. Oxford University Press, 2022. http://dx.doi.org/10.1093/oxfordhb/9780198847526.013.35.

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Abstract This chapter begins with a critique of the ‘universal museum’ concept, developed by European and North American museums without due consideration for other parts of the world. It places this critique in the context of colonialism in Africa, as well as ongoing antiquities looting, which enabled the extraction of material now held in these ‘universal museums’. The nature of restitution is discussed and a brief history of African calls for heritage return presented before examining the increased intensity of restitution debates that emerged in the late 2010s, with focuses upon the Sarr–Savoy Report and Benin Bronzes. The chapter emphasizes the significance of restitution for African societies as part of restorative justice. It is argued that restitution should embrace decoloniality and centre African knowledge and traditions of collections care as valid means of heritage care. Such an approach can encourage a shift in the debate from blame and denial, toward sustainable partnerships.
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Autry, Robyn. "Memory Entrepreneurs." In Desegregating the Past, 27–65. Columbia University Press, 2017. http://dx.doi.org/10.7312/columbia/9780231177580.003.0002.

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Chapter 1 explores the role of ‘memory entrepreneurs’ in revising historical content. It asks, “If history is written by the victors, then who revises it?” I answer this question by identifying the key actors involved in positioning museums as sites of revision, paying attention to how their institutional locations and interests help explain the cultural politics of revision. I discuss revision in terms of historical content as a gateway to a deeper consideration of revision as a source of renewing social consensus and reshaping public (historical) space. This chapter links the cultural work of museums dedicated to preserving histories of violence to longstanding criticisms of mainstream history and museum culture. The chapter compares the development of a family of black history museums operating in opposition to whitewashing of US history to the overhaul of national museums after the fall of apartheid in South Africa.
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McGhie, Henry A. "The grand finale: producing Eggs of the Birds of Europe." In Henry Dresser and Victorian Ornithology. Manchester University Press, 2017. http://dx.doi.org/10.7228/manchester/9781784994136.003.0014.

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During 1905–10, Dresser brought out his last major book, on the eggs of the birds of Europe. His Russian collaborators were making important discoveries in Central Asia and Siberia, and provided him with many specimens. Dresser publicised these discoveries in the book and in presentations at the Zoological Society of London. The Eggs of the Birds of Europe was illustrated using colour photography of eggs, mostly from Dresser’s collection. It was possibly the first natural history book to be illustrated using colour photography, based on the ‘three-colour process’. There was a further dispute with the British Museum (Natural History) as Dresser acquired some bird skins from an ‘official’ expedition, the British Expedition to Tibet of 1903–04, which the museum’s curators felt should go to the museum.
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McGhie, Henry A. "The 1890s: the continuing rise of the British Museum (Natural History)." In Henry Dresser and Victorian Ornithology. Manchester University Press, 2017. http://dx.doi.org/10.7228/manchester/9781784994136.003.0012.

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This chapter explores Dresser’s activities in the 1890s. His relationship with Walter Rothschild, a particularly wealthy private collector, is discussed. Dresser continued to hold a leading position in scientific society and became involved in the early Society for the Protection of Birds. He had some involvement with the British Ornithologists’ Club, established by Richard Sharpe of the British Museum (Natural History). There were ongoing disputes on how birds should be given scientific names; Dresser was notable as a firm advocate of the ‘old school’, which was losing ground to new innovations supported by American ornithologists. There was a dispute over the ownership of bird specimens with Richard Sharpe, which would be the first of several such accusations. Dresser parted with his bird collection to Manchester Museum. The days of independent gentlemen naturalists were not over, but the rift between individuals and organised institutions, societies and professionals was growing ever wider.
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Stylianou, Nicola. "The Empress’s Old Clothes: Biographies of African Dress at the Victoria And Albert Museum." In Dress History. Bloomsbury Academic, 2015. http://dx.doi.org/10.5040/9781474240536.ch-005.

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Lodwick, Keith. "The ruby slippers at the V&A: an odyssey." In Shoe Reels, 62–67. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474451406.003.0006.

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In this chapter, a curator from the Victoria and Albert Museum in London tells of efforts to track down the iconic ruby slippers worn by Judy Garland in The Wizard of Oz for the major exhibition Hollywood Costume held at the museum in 2012. Once the shoes were located, they travelled to London from Washington, D.C. in their own seat on a plane, handcuffed to a security guard and accompanied by the curator of the Smithsonian Institution. Their arrival at the V&A prompted a top-secret security operation. The resulting exhibition remains one of the most successful in the V&A’s history.
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McGhie, Henry A. "The 1880s: the rise of rivalry." In Henry Dresser and Victorian Ornithology. Manchester University Press, 2017. http://dx.doi.org/10.7228/manchester/9781784994136.003.0011.

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This chapter explores the 1880s as a time when standards were set in ornithology, in terms of scientific practices of naming and drawing up agreed lists of accepted records of rare birds visiting Britain. Dresser was a key figure in this, at a time when a number of self-proclaimed authorities disputed evidence and practices. Dresser was involved in various arguments over scientific naming practices with American ornithologists, which would run for many years. His relationship with Henry Seebohm, an English collector with whom he had previously been on good terms, deteriorates as Seebohm set out to deinstall Dresser as the leading commentator on the birds of Europe and Siberia. The British Museum (Natural History) continued to develop its leading importance as a scientific research institution, attracting support from many of Dresser’s contemporaries and acquiring their collections. Dresser remained separated from the museum.
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Robertson, Fiona. "Gothic Scott." In Scottish Gothic, 102–14. Edinburgh University Press, 2017. http://dx.doi.org/10.3366/edinburgh/9781474408196.003.0008.

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For record numbers of viewers in the summer of 2015, Scottishness and Gothic were provocatively juxtaposed in the exhibition Alexander McQueen: Savage Beauty at the Victoria and Albert Museum in London (first staged at New York’s Metropolitan Museum of Art in 2011). McQueen’s collections, Highland Rape (1995) and The Widows of Culloden (2006), while distinct from his more overtly macabre uses of Gothic, dramatise not only a personal family identity but also an interrogative, sometimes confrontational, approach to Scottish history and ‘heritage’ (with all the ironic inflections of that term): ‘I like to challenge history’, McQueen stated in 2008 (Wilcox 2015: 51). The grandeur and poignancy of the exhibition’s staging of pieces from The Widows of Culloden, in particular, invite reflections on where Scottish ‘history’ most strongly emerges as a construct of narrative and design – as something which possesses creative and intellectual coherence but which explicitly opens itself up to question, to ‘challenge’.
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Conference papers on the topic "Museums Victoria History"

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Liriano Castillo, Lucero, Maria Isabel Martinez Sosa, and Georgina Helina Batista Schrils. "Comunicación culinaria en República Dominicana: tecnología, chefs, food stylists y foodies." In 3er Congreso Internacional sobre Patrimonio Alimentario y Museos. Valencia: Editorial Universitat Politècnica de València, 2021. http://dx.doi.org/10.4995/egem2021.2021.13408.

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Mucho ha cambiado desde que la transmisión y supervivencia del acervo culinario de los pueblos se limitaba al formato oral. Las distintas evoluciones tecnológicas han transformado no solo el qué comemos, sino también el cómo lo disfrutamos. Influenciando incluso los rituales de socialización de los alimentos. La gastronomía en República Dominicana ha evolucionado y esto se ha ido reflejando en el uso progresivo de innovadores formatos y plataformas de comunicación. Desde los “reality shows” en los que amateurs muestran su proeza en la cocina mientras se disputan ante las cámaras por la victoria, hasta quienes retocan el más mínimo detalle de los alimentos, como si se tratara de supermodelos. Aquellos que han elegido el camino de las artes culinarias como profesión cuentan con nuevos aliados. Tecnologías y perfiles antes inexistentes que narran la historia de recetas, la experiencia de su consumo y hasta la proveniencia de sus ingredientes. Entre ellos encontramos categorías como food stylists, que resaltan la esencia de los platos, y foodies que se dan a la labor de salir de aventuras en búsqueda de magníficas creaciones. El presente documento evalúa algunos de los sujetos que se van abriendo camino en estas áreas. A través de un análisis de la literatura existente se pretende iniciar la identificación de perfiles digitales, abanderados y embajadores de la gastronomía que, más allá de los fogones, se encuentran detrás de los dispositivos y que con su labor engrandecen la calidad culinaria de la República Dominicana.
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