Метка — музей и общество.

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'The rats are still with us'

Autry R.

How did the black cultural politics of the 1960s prompt the Smithsonian to break with tradition and establish the first experimental black community-based museum in Washington DC? Using a historical perspective, I examine how political-economic and institutional forces combine with more ideological concerns to construct flexible representations of race, urbanism, and community over time. I follow these developments across three decades to examine how internal and external factors shape the exhibition of group identity and collective pasts. Drawing on primary and secondary sources, including interviews with museum staff, newspaper articles, and Smithsonian archives, I illustrate how activist-minded staff at a local museum worked to construct an image of group identity and urban culture through curation, while negotiating symbolic, political, economic, and institutional pressures on cultural production.Key words: community museums, racial identity, memory, urban, everyday life.

Museum and society. Vol.14. Is.1. P.160-177

Washington, DC: Museum and society, 2016

Building a Community-based Identity at Anacostia Museum

James P.

A historian explores the construction of Anacostia Museum's identity from the 1960s to the present by examining the history of its exhibitions. Direct community accessibility was part of the museum's founding mission, but Smithsonian administration, museum staff, and community residents all seemed to have different ideas about the meaning of the “neighborhood museum” concept. Designated a “Smithsonian outpost,” and intended to draw African‐American visitors to the Smithsonian museums on the Mall, the new museum's mission was instead shaped by community advisory groups to focus broadly on African‐American history and culture. Staff efforts to “professionalize” and upgrade museum operations later threatened community access to the exhibition‐development process, and most community/museum interaction was relegated to the program and outreach activities of the education department. The 1994 Black Mosaic exhibition provided an opportunity to devise new ways of integrating the perspectives of a changed community into the exhibition‐development process.

Curator, 2005

Exhibiting Cultures: The Poetics and Politics of Museum Display

Ivan Karp, Steven D. Lavine

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

Smithsonian Books, 1991

La Muséologie selon Georges Henri Rivière: cours de muséologie, textes et témoignages

Six leçons magistrales commentées par une trentaine de collaborateurs spécialisés en cette discipline de conservation et d'éducation.

[электронный ресурс] // URL: http://www.microsillons.org/collection/museologie.pdf (дата обращения 05.07.2020)

Paris: Dunod, 1989

Museology and community development in the XXI Century

Santos, Paula Assunção dos

Each time more, museology professionals are confronted with terms such as community, social inequality, social inclusion and development in their quotidian. Be it in conferences, publications or museum programmes, these are increasingly recurrent terms which, in great part, translate the dynamics of a relationship between museology and community development that has been constructed since the late 60’s. Although it is not new, such relationship has gone through a major bloom in the early 90’s and arrives today as an emerging priority within the world of museology. A first glance on the subject reveals that very different approaches and forms of action share the efforts in endowing museology with a role in community development today. In addition, despite of its growing popularity, it seems to be some misunderstandings on what the work with community development requires and truly signifies, as can be pointed out in a number of assertions originated from the field of museology. Accompanying such a plural environment, discussions and disagreements about to what extend museology is able to claim a role in social change also mark its affairs with community development. People are faced, indeed, with a rather polemic and intricate scenario. To a great extend, language barriers hinder the exchange of information on current initiatives and previous experiences, as well as on the development of concepts, approaches and proposals. Lack of better interactions among the groups of museology professionals and social actors who carry out different works with community development also contributes to making the potential of museology as a resource for development more difficult to be visualised.

Cadernos de Sociomuseologia. Vol. 29. p. 1-251

Cadernos de Sociomuseologia, 2008

Museum Revolutions

Simon J. Knell

This single-volume museum studies reference title explores the ways in which museums are shaped and configured and how they themselves attempt to shape and change the world around them.

Written by a leading group of museum professionals and academics from around the world and including new research, the chapters reveal the diverse and subtle means by which museums engage and in so doing change and are changed. The authors span over 200 years discussing national museums, ecomuseums, society museums, provincial galleries, colonial museums, the showman’s museum, and science centres. Topics covered include: disciplinary practices, ethnic representation, postcolonial politics, economic aspiration, social reform, indigenous models, conceptions of history, urban regeneration, sustainability, sacred objects, a sense of place, globalization, identities, social responsibility, controversy, repatriation, human remains, drama, learning and education.

Capturing the richness of the museum studies discipline, Museum Revolutions is the ideal text for museum studies courses, providing a wide range of interlinked themes and the latest thought and research from experts in the field. It is invaluable for those students and museum professionals who want to understand the past, present and future of the museum.

Routledge, 2007

Museum skepticism: a history of the display of art in public galleries

InMuseum Skepticism, art historian David Carrier traces the birth, evolution, and decline of the public art museum as an institution meant to spark democratic debate and discussion. Carrier contends that since the inception of the public art museum during the French Revolution, its development has depended on growth: on the expansion of collections, particularly to include works representing non-European cultures, and on the proliferation of art museums around the globe. Arguing that this expansionist project has peaked, he asserts that art museums must now find new ways of making high art relevant to contemporary lives. Ideas and inspiration may be found, he suggests, in mass entertainment such as popular music and movies.Carrier illuminates the public role of art museums by describing the ways they influence how art is seen: through their architecture, their collections, the narratives they offer museum visitors. He insists that an understanding of the art museum must take into account the roles of collectors, curators, and museum architects. Toward that end, he offers a series of case studies, showing how particular museums and their collections evolved. Among those who figure prominently are Baron Dominique Vivant Denon, the first director of the Louvre; Bernard Berenson, whose connoisseurship helped Isabella Stewart Gardner found her museum in Boston; Ernest Fenollosa, who assembled much of the Asian art collection now in the Museum of Fine Arts, Boston; Albert Barnes, the distinguished collector of modernist painting; and Richard Meier, architect of the J. Paul Getty Center in Los Angeles. Carrierrs"s learned consideration of what the art museum is and has been provides the basis for understanding the radical transformation of its public role now under way.

2006

Museums and Communities: the politics of public culture

Ivan Karp, Christine Mullen Kreamer, Steven D. Lavine

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.

Smithsonian Books, 1992

Museums and Community: Ideas, Issues and Challenges

Crooke, Elizabeth

Combining research that stretches across all of the social sciences and international case studies, Elizabeth Crooke here explores the dynamics of the relationship between the community and the museum.

Focusing strongly on areas such as Northern Ireland, South Africa, Australia and North America to highlight the complex issues faced by museums and local groups, Crooke examines one of the museum's primary responsibilities – working with different communities and using collections to encourage people to learn about their own histories, and to understand other people's.

Arguing for a much closer examination of this concept of community, and of the significance of museums to different communities, Museums and Community is a dynamic look at a relationship that has, in modern times, never been more important.

2008
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Museums and the Shaping of Knowledge

Eilean Hooper-Greenhill

Museums have been active in shaping knowledge over the last six hundred years. Yet what is their function within today's society? At the present time, when funding is becoming increasingly scarce, difficult questions are being asked about the justification of museums. Museums and the Shaping of Knowledge presents a critical survey of major changes in current assumptions about the nature of museums. Through the examination of case studies, Eilean Hooper-Greenhill reveals a variety of different roles for museums in the production and shaping of knowledge. Today, museums are once again organising their spaces and collections to present themselves as environments for experimental and self-directed learning. 

Routledge, 1992