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Journal articles on the topic 'Museum debate'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

Folga-Januszewska, Dorota. "HISTORY OF THE MUSEUM CONCEPT AND CONTEMPORARY CHALLENGES: INTRODUCTION INTO THE DEBATE ON THE NEW ICOM MUSEUM DEFINITION." Muzealnictwo 61 (April 17, 2020): 39–57. http://dx.doi.org/10.5604/01.3001.0014.1129.

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The topic discussed in the paper is the change and evolution the concept of museum (Greek: museion, Latin: musaeum) has been undergoing for over 2500 years, as well as many of its different meanings: from the definition of a spot in space, including a place of worship, up to the name of learning form, research and knowledge centre, collection of texts and poetry, music and theatre festival, synonyms of a dictionary and encyclopaedia, library and a secluded study spot, up to large institutions co-creating culture and educating socially. Once museums had become social institutions, the process o

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Jagodzińska, Katarzyna. "PARTICIPATION OF THE PUBLIC IN POLISH MUSEUMS." Muzealnictwo 62 (August 9, 2021): 189–97. http://dx.doi.org/10.5604/01.3001.0015.1742.

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In the 21<sup>st</sup> century, participation is one of the key words related to the operations of museums and debate around them. The public are encouraged to co-create museum projects: exhibitions, programmes that accompany exhibitions, studies; they play the role of consultants and advisors (youth councils, clubs, consultancy teams). Museums are more and more widely ‘opening’ to embrace the public. Never before has the position of visitors been as significant. An overview of participatory programmes in Polish museums is provided. They are classified and characterized by the Auth

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3

Zetterstrom-Sharp, Johanna, and Chris Wingfield. "A "Safe Space" to Debate Colonial Legacy." Museum Worlds 7, no. 1 (2019): 1–22. http://dx.doi.org/10.3167/armw.2019.070102.

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In February 2016, students at Jesus College, Cambridge voted unanimously to repatriate to Nigeria a bronze cockerel looted during the violent British expedition into Benin City in 1897. The college, however, decided to temporarily relocate Okukor to the University’s Museum of Archaeology and Anthropology. This article outlines the discussions that occurred during this process, exploring how the Museum was positioned as a safe space in which uncomfortable colonial legacies, including institutionalized racism and cultural patrimony rights, could be debated. We explore how a stated commitment to

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Kalibani, Mèhèza. "The less considered part: Contextualizing immaterial heritage from German colonial contexts in the restitution debate." International Journal of Cultural Property 28, no. 1 (2021): 43–53. http://dx.doi.org/10.1017/s0940739120000296.

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AbstractSince the publication of the “restitution report” by Felwine Sarr and Bénédicte Savoy in November 2018, the debate around the restitution of African artifacts inherited from German colonialism in German museums has become increasingly intense. While the restitution debate in Germany is generally focused on “material cultural heritage” and human remains, this reflection attempts to contextualize the “immaterial heritage” (museum collections inventory data, photographs, movies, sound recordings, and digital archive documents) from German colonialism and plead for its consideration in thi

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Haunstrup Rathjen, Kasper Thissenius. "Museet i tidens tegn. Et tidsligt blik på museumsaktivismen." Nordisk Museologi 29, no. 2 (2020): 4. http://dx.doi.org/10.5617/nm.8435.

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Museum activism seems to be on everyone’s lips these days. The notion of activism enters a museological scholarly and political debate that had previously been defined by questions concerning the relationship between enlightenment and entertainment, authenticity, representation, and globalization. Museum activism challenges the traditional temporal character of the museum by demanding a presentistic – part futuristic – understanding of time. The basic assumption of this article is that the traditional cultural history museums confronts the visitor with his own temporality. The fundamental prob

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6

Marshall, E. "PHILANTHROPY: Elephantine Gift Stirs Museum Debate." Science 280, no. 5367 (1998): 1186b—1187. http://dx.doi.org/10.1126/science.280.5367.1186b.

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7

Tulliach, Anna. "Simmons, J.E. (2016) Museums. A History. London: Rowman & Littlefield." Museum and Society 15, no. 3 (2018): 343–45. http://dx.doi.org/10.29311/mas.v15i3.2507.

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Museums convincingly achieves the aim of giving a general summary of the key themes of the museum’s history. The author does not fail in missing a point: he offers a comprehensive history of museums from the ancient world to contemporary times, focusing on well-known historical examples of museum collections taken from different parts of the world and on contemporary subjects of debate in the museum world, producing a valuable synthesis of this wide topic. I recommend this book to museum studies students interested in the history of museums, but also to scholars who would like to have a comple

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8

Izzo, Filomena. "Technological Innovation and Management Skills: Case Study of the Museo Archeologico di Napoli." International Business Research 10, no. 8 (2017): 44. http://dx.doi.org/10.5539/ibr.v10n8p44.

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The aim of this article is to contribute to the debate on how management positions in museums can contribute in successfully implementing technological innovations within a museum. The results of a case study on the - Museo Archeologico Nazionale di Napoli (MANN) – which covers the theme of transferrable skills of a museum director for the successful implementation of technological innovations to improve the service the museum offers to the benefit of the public.

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9

Settimini, Elena. "Kate Hill, Women and Museums, 1850-1914: Modernity and the Gendering of Knowledge, Machester: Manchester University Press, 2016, ppxi+255." Museum and Society 15, no. 3 (2018): 352–54. http://dx.doi.org/10.29311/mas.v15i3.2545.

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The discussion on gender representation within the museum space has been a challenging one during the last four decades, opening a debate on the gendering of museum roles and the use of feminist narratives and museology (Deepwell 2006). This book traces the origin of the multifaceted relationship between museums and women, analyzing the period from 1850 to 1914 in the English context, a crucial moment both for museums and women’s engagement with a changing society.

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10

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 fo

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Lorenc, Magdalena. "POLITICAL UNDERTONE OF THE NEW ICOM MUSEUM DEFINITION, OR MANEUVERING A TRANSATLANTIC AMONG ICEBERGS." Muzealnictwo 61 (August 10, 2020): 164–71. http://dx.doi.org/10.5604/01.3001.0014.3469.

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The museum definition is of systemic importance for ICOM, since it demarcates the area of activity of this international non-governmental organization grouping museum curators. The answer to the question whether the new museum definition presented at the ICOM General Conference in Kyoto on 1–7 September 2019 reveal a political undertone is sought. The majority of the attendees did not support the put-forth proposal, opting to postpone the vote on its acceptance. What I mean by the ‘political undertone of the new museum definition’ is that the definiens takes into account the fact that museums

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Herle, Anita. "Relational Objects: Connecting People and Things Through Pasifika Styles." International Journal of Cultural Property 15, no. 2 (2008): 159–79. http://dx.doi.org/10.1017/s0940739108080090.

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Debates around cultural properties tend to focus on law and ethics, on appropriation and ownership, with media representations often producing stereotypes that reinforce and polarize the terms of the debate. The common, typically polemical, notion is that rapacious museums are merely a final resting point for captive static objects, with repatriation viewed as simply restorative compensation. A robust challenge to this view was developed in the Declaration on the Importance and Value of Universal Museums signed in 2002 by the directors of 19 leading museums in Europe and North America. The con

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Tołysz, Aldona. "MUSEUM IN THE PROCESS. SELECTED TENDENCIES IN 20TH-CENTURY MUSEOLOGY." Muzealnictwo 61 (June 24, 2020): 96–105. http://dx.doi.org/10.5604/01.3001.0014.2477.

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The debate on the museum definition undertaken at the 2019 Kyoto ICOM General Conference points to the role played contemporarily by museums and the expectations they have to meet. It also results as a consequence of changes happening in museums beginning as of the 19th century until today. Extremely important processes took place in the past century. Initially, the changes covered the museum operating methods, mainly within museum education and display, however, they also had an impact on the status of objects in museum collections in the context of artistic and ethnographic collections. One

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Hoffman, Sheila K., Dominique Poulot, Bruno Brulon-Soares, and Joanna Cobley. "Aftermath of Cultural Heritage Disasters." Museum Worlds 7, no. 1 (2019): 200–231. http://dx.doi.org/10.3167/armw.2019.070113.

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There is no doubt that we live in fraught times. In the world of museums and cultural heritage protection, we feel it keenly. As symbols and microcosms of respective cultures, museums are thought to reflect society or, at the very least, sections of society or certain historical moments. But the extent to which museums should and do reflect the diversity of people in those societies is the question du jour. Sometimes, it seems as if this question is an internal one—the practical struggle of often underfunded institutions to square the injustices of a past that is encoded into collections with

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Linko, Maaria E. "The Guggenheim Museum Helsinki Plan as a Media Debate." Museum and Society 18, no. 4 (2020): 425–40. http://dx.doi.org/10.29311/mas.v18i4.3171.

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In connection with today’s competition between cities to portray an alluring image of economic and cultural success, the City of Helsinki and the Solomon R. Guggenheim Foundation put forward a plan to establish a Guggenheim museum in Helsinki, Finland. Following the plan’s release, a heated public debate emerged in the media. The present article analyzes this debate as a mediatized conflict and aims to show in what ways the debate on the Guggenheim report affected the decision-making process concerning the Helsinki Guggenheim museum. This debate is analyzed within the framework of current disc

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Lynch, Bernadette. "Reflective debate, radical transparency and trust in the museum." Museum Management and Curatorship 28, no. 1 (2013): 1–13. http://dx.doi.org/10.1080/09647775.2012.754631.

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17

Kõresaar, Ene, and Kirsti Jõesalu. "Okupatsioonide muuseumist Vabamuks: nimetamispoliitika analüüs." Eesti Rahva Muuseumi aastaraamat, no. 60 (October 12, 2017): 136–61. http://dx.doi.org/10.33302/ermar-2017-006.

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From “Museum of Occupations” to “Vabamu”: Analysis of Naming Policy This article focuses on the debate around the name Vabamu and is aimed at discussing whether and how the culture of remembering the Soviet era can change in today’s Estonia. In February 2016, the Estonian Museum of Occupations announced its plans to refresh its identity and change the name of the museum to the Museum of Freedom Vabamu. The planned name change sparked controversy in society about the meaning of the (Soviet) military occupation, the sufferings of that period and ways of commemorating them. Over 60 stories were p

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18

Horacek, Martin. "MUSEUM OF ART VERSUS THE CITY AS A WORK OF ART: A Case of the New Acropolis Museum in Athens." International Journal of Architectural Research: ArchNet-IJAR 8, no. 2 (2014): 47. http://dx.doi.org/10.26687/archnet-ijar.v8i2.428.

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This study is concerned with the New Acropolis Museum, which was opened in June 2009 in Athens. The New Acropolis Museum, out of all of the world’s new museum structures of the past century, has dramatically intensified the issue of the relationship between parts and the whole, between the building and its integration into the setting, between the museum function and the historical city, which is a protected heritage site, one treated as a museum exhibit. With the New Acropolis Museum as an example, the study would like to highlight the complexity and the ambiguity of the present-day relations

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19

Laely, Thomas. "Restitution and beyond in contemporary museum work: Re-imagining a paradigm of knowledge production and partnership." Contemporary Journal of African Studies 7, no. 1 (2020): 17–37. http://dx.doi.org/10.4314/contjas.v7i1.2.

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Today, anthropological museums have to reach out to external stakeholders toreprocess and reappraise the history and acquisition of their collections. They aremuch more than mere interpreters of a past heritage, but institutions having a placein contemporary history to debate and shape ever-evolving cultures grounded inboth local and global concerns. The paper explores these questions using theexample of an ongoing trilateral museum partnership in knowledge generationbetween Uganda and Switzerland.

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20

Tlili, Anwar. "In Search of Museum Professional Knowledge Base: Mapping the professional knowledge debate onto museum work." Educational Philosophy and Theory 48, no. 11 (2015): 1100–1122. http://dx.doi.org/10.1080/00131857.2015.1091284.

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21

Rutherford-Morrison, Lara. "Playing Victorian." Public Historian 37, no. 3 (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

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Lieberman, Bruce S., and Roger L. Kaesler. "The Scientific Value of Natural History Museum Collections: The Concept of Completeness." Paleontological Society Special Publications 10 (2000): 109–18. http://dx.doi.org/10.1017/s2475262200009035.

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NATURAL HISTORY MUSEUMS are one of the greatest resources available to paleontologists and evolutionary biologists. Through their exhibits, they have inspired generations of children to become paleontologists, and they also serve as a tremendous repository of realized and potential data. If invertebrate fossils can be thought of as individual data points, in the United States alone there are perhaps 100 million data points. Yet, in spite of this, museums, like other sources of data, have their shortcomings. What are these short comings, and how severe are they? Are they so severe as to obviate

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Kritter, Sabine. "Exhibiting Work in Germany—From Industrial Labour to (Industrial) Culture*." German History 37, no. 3 (2019): 375–91. http://dx.doi.org/10.1093/gerhis/ghz044.

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Abstract History museums in old industrial regions are important agents in the current debate on how we perceive work in our society. One of their key issues is how work built the region and how it changed in the context of deindustrialization. The article explores the depictions of work in the Ruhr Museum, which is the central regional history museum of the foremost region of heavy industry in Germany. It shows that with few exceptions the representations of the past in this museum include only images of standardized male industrial work, mainly in the coal and steel industries. Furthermore,

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Arriaga, Amaia, and Imanol Aguirre. "Museum-university collaboration to renew mediation in art and historical heritage. The case of the Museo de Navarra." Arte, Individuo y Sociedad 32, no. 4 (2020): 989–1008. http://dx.doi.org/10.5209/aris.66295.

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We present an action research project in which a university and a regional museum of art and historical heritage collaborate. The objective of this project has been to design and develop a mediation plan and its interpretation resources. First, a description is provided of the historical context of the debate regarding the educational function of the museum and mediation actions for the interpretation of art. Next, we present the theoretical principles on which our approach to mediation in museums is based and explain the two phases of the action research project. Initially, an investigation o

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Frigo, Manlio. "The International Symposium “From Anatomic Collections to Objects of Worship: Conservation and Exhibition of Human Remains in Museums,” Paris (France), February 22–23, 2008." International Journal of Cultural Property 15, no. 4 (2008): 437–39. http://dx.doi.org/10.1017/s0940739108080260.

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The Musée du Quay Branly held an international symposium, “From Anatomic Collections to Objects of Worship: Conservation and Exhibition of Human Remains in Museums,” in Paris on February 22–23, 2008, at the museum's Théatre Claude Levy Strauss. The main purpose of the 2-day conference—opened by the French Ministry of Culture and Communication's Christine Albanel—was to stimulate an international debate on a multidisciplinary basis concerning the roles and responsibilities of museums in the exhibition and repatriation of human remains. The subject turned out to be topical, originating from the

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Sayer, Duncan. "Is there a crisis facing British burial archaeology?" Antiquity 83, no. 319 (2009): 199–205. http://dx.doi.org/10.1017/s0003598x00098203.

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2007 was an eventful year for the ethics of burial in Britain: the Science Museum returned the remains of Tasmanian Aborigines to their cultural home (Henderson 2007), the legal system governing the excavation of human remains was reinterpreted (Small 2008), TheGuardianreported on the desire of neo-pagans to take ownership of human remains (Randerson 2007) and there was a debate in the museum literature on just this topic (see Restall Orr & Bienkowski 2006 and Smith & Mays 2007). In light of these changes and debates it may be unsurprising to learn that many British archaeologists feel

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Trouli, Sofia. "Teens Challenged to Re-think the Concept of European Identity in the Museum." Higher Education Studies 11, no. 3 (2021): 156. http://dx.doi.org/10.5539/hes.v11n3p156.

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Museums seek to be places for democratization, inclusion and polyphony. In this paper we present the multimodal conversations of the participating adolescents in the course of a museum pedagogical program in the Museum of Contemporary Art of Crete. The program&rsquo;s topic is Europe and the concept of European identity. Firstly, we prepare the ground through creating an environment of safety and confidence, and next, together with our groups we study the selected artworks, following the routines of &lsquo;Artful Thinking&rsquo;, which propose the development of critical thinking t

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Kotsimbos, T. "From the Museum: the Art of Thinking. Part Four: Debate." European Respiratory Journal 43, no. 6 (2014): 1588–89. http://dx.doi.org/10.1183/09031936.00430614.

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Meirelles, Anna Cristina Resque, and Marcondes Lima da Costa. "Mineralogy and chemistry of the green stone artifacts (muiraquitãs) of the museums of the Brazilian State of Pará." Rem: Revista Escola de Minas 65, no. 1 (2012): 59–64. http://dx.doi.org/10.1590/s0370-44672012000100008.

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Muiraquitãs, lithic artifacts found in the Amazon basin, have been considered to be Asian in origin, or to have been sculpted by the legendary female Amazon warriors. These pieces are now very rare, and are found mainly in museum collections. In the present study, the mineralogical and chemical content of 23 specimens from the collections of the Museu de Gemas (Gemstone Museum) and Museu do Encontro (Meeting Museum) in Belém, Brazil, were analyzed. Most of the pieces were made of minerals commonly found in Brazil - quartz, albite, microcline, variscite, anorthite, and tremolite (the equivalent

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Sani, Margherita. "MUSEUMS, MIGRATION AND CULTURAL DIVERSITY – RECOMMENDATIONS FOR MUSEUM WORK." Muzealnictwo 58, no. 1 (2017): 84–92. http://dx.doi.org/10.5604/01.3001.0009.9718.

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The role of museums in society has expanded significantly in the last decades: from temples of knowledge to forums for debate and discussion, from repositories of objects to people-centred institutions with social responsibilities and functions. This shift reflects an ongoing trend to democratise museums and make them more accessible to wider audiences and responsive to the public’s changing needs, in particular the interests of local communities, whose composition has changed in recent years to include migrants and people of different ethnic backgrounds. With annual migration flows to the EU

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Bekoff, Marc, and Andrzej Elzanowski. "Collecting birds: the importance of moral debate." Bird Conservation International 7, no. 4 (1997): 357–61. http://dx.doi.org/10.1017/s0959270900001684.

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In a recent article in this journal, Remsen (1995) attacked moral (and other) objections to killing birds for museum collections, objections that are frequently raised by the general public and scientific community alike. The only grounds for moral objections against killing birds that Remsen considers and rejects are reverence for all life or personal (p. 157; all page references refer to Remsen 1995), that is sentimental (p. 165) reasons. What Remsen ignores is avian sentience and the moral imperative of respecting it.

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Taliaferro, Charles. "The Open Museum and its Enemies: An Essay in the Philosophy of Museums." Royal Institute of Philosophy Supplement 79 (October 2016): 35–53. http://dx.doi.org/10.1017/s1358246116000060.

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AbstractBorrowing from the title and some of the content of Karl Popper's The Open Society and its Enemies (1945), it is argued that museums have great value as sites for what may be called a philosophical culture. A philosophical culture is one in which members or citizens engage in (ideally) fair-minded debate and shared reflection, presenting and evaluating reasons for different positions particularly as these have relevance for matters of governance. In a philosophical culture, persuasion is almost always a matter of seeking to provide reasonable grounds for adopting some position without

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Kidd, Jenny, and Rosie Cardiff. "‘A space of negotiation’: Visitor Generated Content and Ethics at Tate." Museum and Society 15, no. 1 (2017): 43–55. http://dx.doi.org/10.29311/mas.v15i1.661.

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This article uses Tate as a case study through which to explore the ethical dimensions of museums’ and galleries’ efforts to create participatory digital encounters for visitors. To what extent, it asks, is a framework for a digital museum ethics beginning to emerge at Tate? Using data from a suite of interviews with the digital team at Tate, this article reveals an organization ready for considered engagement with the knottier extensions of the debate about museums’ digital practice in 2015, but a concern about how to ensure staff members have the skills and confidence to lead and take part i

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Calcagnini, Sara. "Debating as an educational method to science and citizenship." Journal of Science Communication 06, no. 03 (2007): C08. http://dx.doi.org/10.22323/2.06030308.

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If one of aims of science today is to respond to the real needs of society, it must find a new way to communicate with people and to be acquainted with their opinions and knowledge. Many science museums in Europe are adopting new ways to actively engage the public in the debate on topical scientific issues. The Museum of Science and Technology "Leonardo da Vinci" in Milan (partner of the SEDEC project) has thus experimented some formats for dialogue with teachers and with the public in general. Our experience shows that museums can be places where science and the public on the one hand and dem

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Ughetto, Pascal. "Scholars and poor communicators? Old Masters exhibitions as a scientific practice and communication activity for art museum curators." Current Sociology 65, no. 3 (2015): 376–94. http://dx.doi.org/10.1177/0011392115617226.

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Museum curators are rarely the subject of analysis as scientists. By contrast, there is a whole literature on their propensity to give priority to the scientific knowledge of collections over the effort to communicate with different audiences and make museums accessible. This article examines the Late Raphael exhibition at the Louvre (Paris) and draws on the exhibition texts (catalogues, artwork labels, wall texts) to explore the practical activity and preoccupations of the museum curators concerned: the exhibition is simultaneously material for the scientific demonstration of a thesis – part

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Skrede, Joar. "A Museum Cruise in Foul Waters: An Empirical Analysis of the Debate Triggered by the Proposal to Move the Norwegian Viking Ships from Bygdøy to Bjørvika." Museum Anthropology Review 10, no. 1 (2015): 1–25. http://dx.doi.org/10.14434/mar.v10i1.19207.

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This article analyzes the debate that ensued from a suggestion to relocate three Norwegian Viking ships from Bygdøy to Bjørvika. People do not only debate the ships’ material vulnerability but they also express different views of what a modern museum is and should be. Some want to upgrade and preserve the existing museum, while others want to relocate the ships and integrate them in a wider culture-led urban regeneration agenda. The ships are torn between local, regional, and national political interests, and people have different opinions about the histories in which they should be inscribed.

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Bell, Joshua A., Kimberly Christen, and Mark Turin. "After the Return." Museum Worlds 1, no. 1 (2013): 195–203. http://dx.doi.org/10.3167/armw.2013.010112.

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On 19 January 2012, the workshop After the Return: Digital Repatriation and the Circulation of Indigenous Knowledge was held at the Smithsonian Institution’s National Museum of Natural History in Washington DC. With support from the National Science Foundation and the Smithsonian’s Understanding the American Experience and Valuing World Cultures Consortia, this workshop brought together twenty-eight international participants for a debate around what happens to digital materials after they are returned to communities (however such communities are conceived, bounded, and lived). The workshop pr

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Drioli, Alessandra. "Science centres around the world see unrest for art and science in society." Journal of Science Communication 08, no. 02 (2009): C01. http://dx.doi.org/10.22323/2.08020301.

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In present times it would not be appropriate to say art made a “debut” in science centres, as it has been a feature since the beginning of their history, and it appeared precisely in the ‘parent’ science centre, the Exploratorium. However, now it is time to check the progress. There is unrest for this issue, as in history-making times, and it is worthwhile to follow the new developments and hear the words of the coordinators of the artistic activities in science centres and, more in general, in science museums, and also of the artists involved in the process. The goal is to promote a debate on

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Vikmane, Elina, and Anda Laķe. "Critical Review of Sustainability Priorities in the Heritage Sector: Evidence from Latvia’s Most Visited Museums." European Integration Studies 1, no. 15 (2021): 95–110. http://dx.doi.org/10.5755/j01.eis.1.15.28886.

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A vibrant debate about the role and participation of museums in urbanisation, industrialisation, human rights protection, technological progress, climate change and other global challenges has persisted in the field of museums ever since the boom of theoretical museology, which coincided with the development of the sustainable development concept. However, often culture is considered a part of social sustainability pillar, covering manifestations such as equity, participation, social justice etc. (Murphy, 2012; Vallace et al., 2011; Cuthill, 2010) or ignoring cultural aspects altogether (Chiu,

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Lehrer, Erica, and Monika Murzyn-Kupisz. "Making Space for Jewish Culture in Polish Folk and Ethnographic Museums." Museum Worlds 7, no. 1 (2019): 82–108. http://dx.doi.org/10.3167/armw.2019.070107.

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Looking beyond Poland’s internationally lauded new Jewish museums, this article asks how Jews are represented in longer-standing folk and ethnographic museums whose mandates have been to represent the historical culture of the Polish nation. How have such museums navigated growing internal pressures to incorporate Jews and reconsider the boundaries of “Polishness” alongside external pressures to rethink the function and approach of ethnographic museology? Based on three museums that have taken three different approaches to Jewishness—what we call cabinet of Jewish curiosities, two solitudes, a

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O'Connell, Mary Ellen, and Sara DePaul. "Report on the Conference: Imperialism, Art and Restitution." International Journal of Cultural Property 12, no. 4 (2005): 487–90. http://dx.doi.org/10.1017/s0940739105050253.

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March 26–27, 2004, in St. Louis, Missouri, the Washington University School of Law's Whitney R. Harris Institute for Global Legal Studies and the School of Art hosted the Imperialism, Art and Restitution Conference. The conference brought together many of the world's leading experts on art and antiquities law, museum policy, and the larger cultural context surrounding these fields. The conference organizers chose several particularly controversial case studies to generate debate and discussion around the issues of whether Western states and their museums should return major works of art and an

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Gendreau, Andrée. "Museums and Media: A View from Canada." Public Historian 31, no. 1 (2009): 35–45. http://dx.doi.org/10.1525/tph.2009.31.1.35.

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Abstract The rapid transformation of museums over the last twenty years, both in Canada and around the world, has provoked numerous commentaries and interpretations. It has also fanned the flames of an argument that began three hundred years ago. The quarrel of the ancients and the moderns on the question of “museumfication” continues today. The quarrel is now not so much about problem of works and objects being placed in a kind of thesaurus, removed from their true context and accessible to only a limited public, but rather about the mummification of living traditions, intangible heritage, pu

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Chiarenza, S., A. R. D. Accardi, and R. Inglisa. "TECHNOLOGICAL INNOVATION AND NEW PRESENTATION STRATEGIES FOR VIRTUAL MUSEUM EXHIBITIONS." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLII-2/W15 (August 21, 2019): 311–18. http://dx.doi.org/10.5194/isprs-archives-xlii-2-w15-311-2019.

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<p><strong>Abstract.</strong> In recent years, the theme of museums and virtual exhibitions has been the subject of a wide debate and a significant number of researches and experiments. In a vast and articulated framework of experiences, this article intends to highlight new strategies related to the creation of digital museum paths based on a multidisciplinary approach. The research presented here intends to create a protocol for the construction of digital museums based on the definition of an ontology capable of integrating digital elaborations of 3D virtual models and exh

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Silberstein, Elodie. "“Have You Ever Seen the Crowd Goin’ Apeshit?”: Disrupting Representations of Animalistic Black Femininity in the French Imaginary." Humanities 8, no. 3 (2019): 135. http://dx.doi.org/10.3390/h8030135.

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16 June 2018. London Stadium. Beyoncé and Jay–Z revealed the premiere of the music video Apeshit. Filmed inside the Louvre Museum in Paris, Beyoncé’s sexual desirability powerfully dialogues with Western canons of high art that have dehumanized or erased the black female body. Dominant tropes have historically associated the black female body with the realm of nature saddled with an animalistic hypersexuality. With this timely release, Apeshit engages with the growing current debate about the ethic of representation of the black subject in European museums. Here, I argue that Beyoncé transcend

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Barranha, Helena, João Vieira Caldas, and Rita Nobre Neto da Silva. "Translating heritage into museums: two architectural strategies inside Lisbon Castle." Journal of Cultural Heritage Management and Sustainable Development 7, no. 1 (2017): 33–47. http://dx.doi.org/10.1108/jchmsd-05-2016-0033.

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Purpose The purpose of this paper is to discuss the role of contemporary architecture in heritage protection, reinterpretation and reuse, an issue that has become increasingly relevant due to the recognition of architectural heritage as a key factor for cultural and economic development. Design/methodology/approach In Portugal, as elsewhere in Europe, cultural heritage management has often been associated with the creation of new museum spaces, namely, within national monuments and archaeological sites. Drawing on restoration theories and international charters, this paper analyses and compare

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Ajana, Btihaj. "Branding, legitimation and the power of museums: The case of the Louvre Abu Dhabi." Museum and Society 13, no. 3 (2015): 316–35. http://dx.doi.org/10.29311/mas.v13i3.333.

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Museums and cultural developments are on the rise in the Gulf region. The United Arab Emirates is home to some of the most ambitious and extravagant museum projects in the world. In this article, I consider the example of the Louvre Abu Dhabi, exploring some of its underlying dynamics and context. I focus mainly on the relationship between branding and legitimation while placing my analysis within a wider critical debate, which includes discussions on the link between museums and identity, the legitimizing role of architecture, and the various contentious concerns and controversies surrounding

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LEEUWEN, MICHAEL VAN. "Simon Rood Pittard (1821–1861) Curator of the Australian Museum." Archives of Natural History 25, no. 1 (1998): 9–24. http://dx.doi.org/10.3366/anh.1998.25.1.9.

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Previous historians of the Australian Museum (Strahan, 1979; Whitley, 1959) have tended to regard Simon Rood Pittard's short term as Curator of the Australian Museum almost purely as a precursor to that of the most important Australian-based Curator of the nineteenth century, Gerard Krefft (1830– 1881). Without the disruption caused by Pittard's untimely death, Krefft would never have become Curator (with the responsibilities of Director), with such important consequences for the Museum. However, Pittard's work does bear scrutiny as part of the mid-century development of the Museum along more

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Harms, Volker. "The Aims of the Museum for Ethnology: Debate in the German-Speaking Countries." Current Anthropology 31, no. 4 (1990): 457–63. http://dx.doi.org/10.1086/203871.

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Dhamoon, Rita Kaur. "Re-presenting Genocide: The Canadian Museum of Human Rights and Settler Colonial Power." Journal of Race, Ethnicity, and Politics 1, no. 1 (2016): 5–30. http://dx.doi.org/10.1017/rep.2015.4.

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AbstractIn settler societies like Canada, United States, and Australia, the bourgeoning discourse that frames colonial violence against Indigenous people as genocide has been controversial, specifically because there is much debate about the meaning and applicability of genocide. Through an analysis of the Canadian Museum for Human Rights, this paper analyzes what is revealed about settler colonialism in the nexus of difficult knowledge, curatorial decisions, and political debates about the label of genocide. I specifically examine competing definitions of genocide, the primacy of the Holocaus

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Taplin, Oliver. "A disguised Pentheus hiding in the British Museum?" Letras Clássicas, no. 8 (November 1, 2004): 27. http://dx.doi.org/10.11606/issn.2358-3150.v0i8p27-35.

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During the last twenty-five years, two opposing trends have dominated over the debate about the relationship between mythological narratives in vase-painting and those in tragedy. On the one hand, there are those who regard the paintings as dependent upon works of literature; on the other hand, there are those who argue that the artistic tradition is fully self-explanatory with no need of any reference to any literature. This paper analyzes some cases, in which the whole phenomenon seems to be more complex, and to be inextricable from the part played both by painted pottery and by the theatre

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