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Debating the practices of museums, galleries, and festivals, Exhibiting Cultures probes the often politically charged relationships among aesthetics, contexts, and implicit assumptions that govern how art and artifacts are displayed and understood. The contributors—museum directors, curators, and scholars in art history, folklore, history, and anthropology—represent a variety of stances on the role of museums and their function as intermediaries between the makers of art or artifacts and the eventual viewers.
Bringing together museum directors, curators, and scholars in art history, folklore, history, and anthropology, Exhibiting Cultures engages in debate over meaning and representation that have accompanied and driven museums' efforts regarding multiculturalism. The contributors represent a variety of stances on the role of museums and their function as intermediaries between the makers of art or artifacts and the eventual viewers.
Debating the practices of museums, galleries, and festivals, Exhibiting Cultures probes the often politically charged relationships among aesthetics, contexts, and implicit assumptions that govern how art and artifacts are displayed and understood. The contributors—museum directors, curators, and scholars in art history, folklore, history, and anthropology—represent a variety of stances on the role of museums and their function as intermediaries between the makers of art or artifacts and the eventual viewers.
This third volume in a bestselling series on culture, society, and museums examines the effects of globalization on contemporary museum, heritage, and exhibition practices.
Contributors to this volume examine and illustrate struggles and collaborations among museums, festivals, tourism, and historic preservation projects and the communities they represent and serve. Essays include the role of museums in civil society, the history of African-American collections, and experiments with museum-community dialogue about the design of a multicultural society.
The nineteenth century witnessed a dramatic shift in the display and dissemination of natural knowledge across Britain and America, from private collections of miscellaneous artifacts and objects to public exhibitions and state-sponsored museums. The science museum as we know it—an institution of expert knowledge built to inform a lay public—was still very much in formation during this dynamic period. Science Museums in Transition provides a nuanced, comparative study of the diverse places and spaces in which science was displayed at a time when science and spectacle were still deeply intertwined; when leading naturalists, curators, and popular showmen were debating both how to display their knowledge and how and whether they should profit from scientific work; and when ideals of nationalism, class politics, and democracy were permeating the museum's walls. Contributors examine a constellation of people, spaces, display practices, experiences, and politics that worked not only to define the museum, but to shape public science and scientific knowledge. Taken together, the chapters in this volume span the Atlantic, exploring private and public museums, short and long-term exhibitions, and museums built for entertainment, education, and research, and in turn raise a host of important questions, about expertise, and about who speaks for nature and for history.
"In Exhibiting Blackness, art historian Bridget R. Cooks analyzes the curatorial strategies, challenges, and critical receptions of the most significant museum exhibitions of African American art. Tracing two dominant methodologies used to exhibit art by African Americans--an ethnographic approach that focuses more on artists than their art, and a recovery narrative aimed at correcting past omissions--Cooks exposes the issues involved in exhibiting cultural difference that continue to challenge art history, historiography, and American museum exhibition practices. By further examining the unequal and often contested relationship between African American artists, curators, and visitors, she provides insight into the complex role of art museums and their accountability to the cultures they represent."--
Author : Kirk A. Denton Publisher : University of Hawaii Press Page : 362 pages File Size : 18,25 MB Release : 2013-12-31 Category : History ISBN : 0824840062
During the Mao era, China’s museums served an explicit and uniform propaganda function, underlining official Party history, eulogizing revolutionary heroes, and contributing to nation building and socialist construction. With the implementation of the post-Mao modernization program in the late 1970s and 1980s and the advent of globalization and market reforms in the 1990s, China underwent a radical social and economic transformation that has led to a vastly more heterogeneous culture and polity. Yet China is dominated by a single Leninist party that continues to rely heavily on its revolutionary heritage to generate political legitimacy. With its messages of collectivism, self-sacrifice, and class struggle, that heritage is increasingly at odds with Chinese society and with the state’s own neoliberal ideology of rapid-paced development, glorification of the market, and entrepreneurship. In this ambiguous political environment, museums and their curators must negotiate between revolutionary ideology and new kinds of historical narratives that reflect and highlight a neoliberal present. In Exhibiting the Past, Kirk Denton analyzes types of museums and exhibitionary spaces, from revolutionary history museums, military museums, and memorials to martyrs to museums dedicated to literature, ethnic minorities, and local history. He discusses red tourism—a state sponsored program developed in 2003 as a new form of patriotic education designed to make revolutionary history come alive—and urban planning exhibition halls, which project utopian visions of China’s future that are rooted in new conceptions of the past. Denton’s method is narratological in the sense that he analyzes the stories museums tell about the past and the political and ideological implications of those stories. Focusing on “official” exhibitionary culture rather than alternative or counter memory, Denton reinserts the state back into the discussion of postsocialist culture because of its centrality to that culture and to show that state discourse in China is neither monolithic nor unchanging. The book considers the variety of ways state museums are responding to the dramatic social, technological, and cultural changes China has experienced over the past three decades.