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The author shows how museum culture offers a unique vantage point on the 19th and 20th centuries' preoccupation with history and subjectivity, and demonstrates how the constitution of the aesthetic provides insight into the realms of technology, industrial culture, architecture, and ethics.
The Museum of Forgotten Memories by Anstey Harris Pdf
“Moving.” —Booklist (starred review) At Hatters Museum of the Wide Wide World, where the animals never age but time takes its toll, one woman must find the courage to overcome the greatest loss of her life. Four years after her husband Richard’s death, Cate Morris is let go from her teaching job and unable to pay rent on the London flat she shares with her son, Leo. With nowhere else to turn, they pack up and venture to Richard’s ancestral Victorian museum in the small town of Crouch-on-Sea. Despite growing pains and a grouchy caretaker, Cate begins to fall in love with the quirky taxidermy exhibits and sprawling grounds, and she makes it her mission to revive them. But threats from both inside and outside the museum derail her plans and send her spiraling into self-doubt. As Cate becomes more invested in Hatters, she must finally confront the reality of Richard’s death—and the role she played in it—in order to reimagine her future. Perfect for fans of Katherine Center and Evvie Drake Starts Over.
This 20 year diary has fine calligraphy and drawings by Lynn Anderson. Each year features a pen and ink drawing of a different 19th century tradition, accompanied by an explanation of the holiday custom featured. Record visitors, special Christmas cards, family photographs and other memories.
“A pathbreaking meditation . . . shifts the discussion . . . from . . . notions of guilt and innocence to the complexities of responsibility and accountability.” —Amir Eshel, Stanford University When it comes to historical violence and contemporary inequality, none of us are completely innocent. We may not be direct agents of harm, but we may still contribute to, inhabit, or benefit from regimes of domination that we neither set up nor control. Arguing that the familiar categories of victim, perpetrator, and bystander do not adequately account for our connection to injustices past and present, Michael Rothberg offers a new theory of political responsibility through the figure of the implicated subject. The Implicated Subject builds on the comparative, transnational framework of Rothberg's influential work on memory to engage in reflection and analysis of cultural texts, archives, and activist movements from such contested zones as transitional South Africa, contemporary Israel/Palestine, post-Holocaust Europe, and a transatlantic realm marked by the afterlives of slavery. An array of globally prominent artists, writers, and thinkers—from William Kentridge, Hito Steyerl, and Jamaica Kincaid, to Hannah Arendt, Primo Levi, Judith Butler, and the Combahee River Collective—speak show how confronting our own implication in difficult histories can lead to new forms of internationalism and long-distance solidarity. “A significant work by a major scholar . . . .While drawing on a global range of histories and texts, the book never loses focus on the contemporary moment.” —Robert Eaglestone, Royal Holloway, University of London “Offer[s] a fresh vocabulary to confront our personal and collective responsibility in the face of massive political violence, past and present.” —Marianne Hirsch, Columbia University
The Postcolonial Museum by Iain Chambers,Alessandra De Angelis,Celeste Ianniciello,Mariangela Orabona Pdf
This book examines how we can conceive of a ’postcolonial museum’ in the contemporary epoch of mass migrations, the internet and digital technologies. The authors consider the museum space, practices and institutions in the light of repressed histories, sounds, voices, images, memories, bodies, expression and cultures. Focusing on the transformation of museums as cultural spaces, rather than physical places, is to propose a living archive formed through creation, participation, production and innovation. The aim is to propose a critical assessment of the museum in the light of those transcultural and global migratory movements that challenge the historical and traditional frames of Occidental thought. This involves a search for new strategies and critical approaches in the fields of museum and heritage studies which will renew and extend understandings of European citizenship and result in an inevitable re-evaluation of the concept of ’modernity’ in a so-called globalised and multicultural world.
Mediating Memory in the Museum by S. Arnold-de-Simine,Silke Arnold-de Simine Pdf
Mediating Memory in the Museum is a contribution to an emerging field of research that is situated at the interface between memory studies and museum studies. It highlights the role of museums in the proliferation of the so-called memory boom as well as the influence of memory discourses on international trends in museum cultures.
Contributing to current debates on relationships between culture and the social, and the the rapidly changing practices of modern museums as they seek to shed the legacies of both evolutionary conceptions and colonial science, this important new work explores how evolutionary museums developed in the USA, UK, and Australia in the late nineteenth century.
Once the home of Catherine the Great’s private art collection, Russia’s State Hermitage Museum became the largest museum in the Soviet Union and, since the collapse of the USSR, one of the most active museums in the world. The Hermitage is a global model for the collection and preservation of fine art, deeply shaped by its need to protect itself and its holdings from the world beyond its gates. In Art of Memories, Vincent Antonin Lépinay documents the Hermitage’s curatorial practices in an innovative consideration of the museum as a cultural laboratory. Lépinay analyzes the tensions between the museum as a space of exploration of the collections and as a culture heavily invested in self-protection from the outside world. During a time when traveling abroad was rare, a generation of art historians produced a culture of confined scholarship premised on their proximity to the holdings of a museum enclave. As the Hermitage has become increasingly present on the world museum scene, its culture of secrecy and orality has endured. Lépinay analyzes the ethos of Hermitage curators and scholars over the transition from Soviet to post-Soviet museum cultures, considering the mobility of art, documentation of the collection, and the transformation of expertise. Based on Lépinay’s extraordinary access to the Hermitage and the scholars who work there, Art of Memories opens the door of one of the world’s great museums to reveal how art history is made. It is an essential study for readers interested in the role that outside forces play in culture, organizations, and the production of knowledge.
How did communities come to terms with the collapse of communism? In order to guide the wider narrative, many former communist countries constructed museums dedicated to chronicling their experiences. Museums of Communism explores the complicated intersection of history, commemoration, and victimization made evident in these museums constructed after 1991. While contributors from a diverse range of fields explore various museums and include nearly 90 photographs, a common denominator emerges: rather than focusing on artifacts and historical documents, these museums often privilege memories and stories. In doing so, the museums shift attention from experiences of guilt or collaboration to narratives of shared victimization under communist rule. As editor Stephen M. Norris demonstrates, these museums are often problematic at best and revisionist at worst. From occupation museums in the Baltic States to memorial museums in Ukraine, former secret police prisons in Romania, and nostalgic museums of everyday life in Russia, the sites considered offer new ways of understanding the challenges of separating memory and myth.
Milo is excited about her class trip to the museum. The docent leads them on a tour and afterward Milo has time to look around on her own. But something doesn't feel right, and Milo gradually realizes that the people from her community are missing from the museum. When her aunt urges her to find a solution, Milo takes matters into her own hands and opens her own museum!
Ruin Memories by Bjørnar Olsen,Þóra Pétursdóttir Pdf
Since the nineteenth century, mass-production, consumerism and cycles of material replacement have accelerated; increasingly larger amounts of things are increasingly victimized rapidly and made redundant. At the same time, processes of destruction have immensely intensified, although largely overlooked when compared to the research and social significance devoted to consumption and production. The outcome is a ruin landscape of derelict factories, closed shopping malls, overgrown bunkers and redundant mining towns; a ghostly world of decaying modern debris normally omitted from academic concerns and conventional histories. The archaeology of the recent or contemporary past has grown fast during the last decade. This development has been concurrent with a broader popular, artistic and scholarly interest in modern ruins in general. Ruin Memories explores how the ruins of modernity are conceived and assigned cultural value in contemporary academic and public discourses, reassesses the cultural and historical value of modern ruins and suggests possible means for reaffirming their cultural and historic significance. Crucial for this reassessment is a concern with decay and ruination, and with the role things play in expressing the neglected, unsuccessful and ineffable. Abandonment and ruination is usually understood negatively through the tropes of loss and deprivation; things are degraded and humiliated while the information, knowledge and memory embedded in them become lost along the way. Without even ignoring its many negative and traumatizing aspects, a main question addressed in this book is whether ruination also can be seen as an act of disclosure. If ruination disturbs the routinized and ready-to-hand, to what extent can it also be seen as a recovery of memory as exposing meanings and presences that perhaps are only possible to grasp at second hand when no longer immersed in their withdrawn and useful reality? Anybody interested in the archaeology of the contemporary past will find Ruin Memories an essential guide to the very latest theoretical research in this emerging field of archaeological thought.
Museum Gallery Interpretation and Material Culture by Juliette Fritsch Pdf
Museum Gallery Interpretation and Material Culture publishes the proceedings of the first annual Sackler Centre for Arts Education conference at the Victoria and Albert Museum (V&A) in London. The conference launched the annual series by addressing the question of how gallery interpretation design and management can help museum visitors learn about art and material culture. The book features a range of papers by leading academics, museum learning professionals, graduate researchers and curators from Europe, the USA and Canada. The papers present diverse new research and practice in the field, and open up debate about the role, design and process of exhibition interpretation in museums, art galleries and historic sites. The authors represent both academics and practitioners, and are affiliated with high quality institutions of broad geographical scope. The result is a strong, consistent representation of current thinking across the theory, methodology and practice of interpretation design for learning in museums.
The Multisensory Museum by Nina Levent,Alvaro Pascual-Leone Pdf
Recent research in the cognitive sciences gives us a new perspective on the cognitive and sensory landscape. In The Multisensory Museum: Cross-Disciplinary Perspectives on Touch, Sound, Smell, Memory, and Space,museum expert Nina Levent and Alvaro Pascual-Leone, professor of neurology at Harvard Medical School bring together scholars and museum practitioners from around the world to highlight new trends and untapped opportunities for using such modalities as scent, sound, and touch in museums to offer more immersive experiences and diverse sensory engagement for visually- and otherwise-impaired patrons. Visitor studies describe how different personal and group identities color our cultural consumption and might serve as a compass on museum journeys. Psychologists and educators look at the creation of memories through different types of sensory engagement with objects, and how these memories in turn affect our next cultural experience. An anthropological perspective on the history of our multisensory engagement with ritual and art objects, especially in cultures that did not privilege sight over other senses, allows us a glimpse of what museums might become in the future. Education researchers discover museums as unique educational playgrounds that allow for a variety of learning styles, active and passive exploration, and participatory learning. Designers and architects suggest a framework for thinking about design solutions for a museum environment that invites an intuitive, multisensory and flexible exploration, as well as minimizes physical hurdles. While attention has been paid to accessibility for the physically-impaired since passage of the Americans with Disabilities Act, making buildings accessible is only the first small step in elevating museums to be centers of learning and culture for all members of their communities. This landmark book will help all museums go much further.
Picking Up the Pieces by Carey Newman,Kirstie Hudson Pdf
“Will educate and enlighten Canadians for generations to come. It's a must-read for anyone seeking to understand Canada's residential-school saga. Most importantly, it's a touchstone of community for those survivors and their families still on the path to healing.”—Waubgeshig Rice, journalist and author of Moon of the Crusted Snow Picking Up the Pieces tells the story of the making of the Witness Blanket, a living work of art conceived and created by Indigenous artist Carey Newman. It includes hundreds of items collected from residential schools across Canada, everything from bricks, photos and letters to hockey skates, dolls and braids. Every object tells a story. Carey takes the reader on a journey from the initial idea behind the Witness Blanket to the challenges in making it work to its completion. The story is told through the objects and the Survivors who donated them to the project. At every step in this important journey for children and adults alike, Carey is a guide, sharing his process and motivation behind the art. It’s a personal project. Carey’s father is a residential school Survivor. Like the Blanket itself, Picking Up the Pieces calls on readers of all ages to bear witness to the residential school experience, a tragic piece of Canada’s legacy.
This volume considers museums from personal experience and historical study, and from the memories of museum visitors, curators, and scholars. Representing a variety of fields, the essays range widely over time and place, in exhibitions explored, and types of institutions.
