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Mapping the Developments of Curatorial Activism & Practice in the Indian Context 在印度背景下绘制策展行动主义与实践的发展
IF 1 4区 社会学 0 HUMANITIES, MULTIDISCIPLINARY Pub Date : 2025-04-07 DOI: 10.1111/cura.12671
Shubhani Sharma

As theorized by Reilly, curatorial activism emerged from the Global North within curatorial and museological discourse as a framework to address the exclusion of marginalized artists from the art historical canon. This paper contributes to the ongoing discourse on curatorial activism, specifically within the Indian context, by critically examining its application in Indian art institutions. Drawing from critical concepts in New Museology and Reilly's curatorial activism, this study analyzes key exhibitions curated at two prominent art centres—New Delhi and Mumbai—exploring how curators engage with activist art practices and institutional critique. By examining the curatorial strategies employed—specifically, revisionism, area studies, and relational studies—within these exhibitions, the paper investigates how issues of caste, regional identity, and marginalization are addressed, particularly within India's unique sociopolitical context. Through this empirical lens, the study evaluates how curatorial activism operates within Indian art institutions and its implications for reshaping dominant narratives in contemporary art discourse.

根据Reilly的理论,策展行动主义起源于全球北方,在策展和博物馆学的话语中,作为一个框架来解决将边缘艺术家排除在艺术史经典之外的问题。本文通过批判性地审视其在印度艺术机构中的应用,为策展行动主义的持续论述做出了贡献,特别是在印度背景下。从新博物馆学和赖利的策展行动主义的批判概念出发,本研究分析了两个著名艺术中心——新德里和孟买的主要展览,探索策展人如何参与激进艺术实践和制度批评。通过研究这些展览中所采用的策展策略——具体来说,是修正主义、区域研究和关系研究——本文探讨了种姓、地区认同和边缘化问题是如何被解决的,特别是在印度独特的社会政治背景下。通过这一实证视角,本研究评估了策展行动主义是如何在印度艺术机构中运作的,以及它对重塑当代艺术话语中的主导叙事的影响。
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引用次数: 0
Re-Imagining the Collection Through Medical Imaging: Collaboration Between Radiology and the Museum 透过医学影像重新想像馆藏:放射学与博物馆的合作
IF 1 4区 社会学 0 HUMANITIES, MULTIDISCIPLINARY Pub Date : 2025-03-27 DOI: 10.1111/cura.12670
Julia K. McHugh, Fides R. Schwartz

Since the 1950s, radiography has been a tool used in the scientific analysis of artworks of diverse media. For ceramics, this non-destructive process allows interior views of vessels, giving insight into material composition, artistic practice, and original use. Recent advances in CT imaging can now reveal different materials within the scan range, illuminating, for example, metal components of the clay or within the decorative slip. This case study discusses the medical imaging of eight ceramic vessels dating from circa 300–1500 CE from Central and South America from the perspective of the radiologists and curatorial team who led the collaboration at Duke University. The resulting CT scans shed light on ancient artistic practice, in addition to the use of these objects in ritual and musical performance. This article provides an overview of those findings while providing recommendations for best practices in creating partnerships between museums and medical imaging departments.

自20世纪50年代以来,射线摄影术已成为科学分析各种媒介艺术作品的工具。对于陶瓷,这种非破坏性的过程允许容器的内部视图,让洞察材料组成,艺术实践和原始使用。CT成像的最新进展现在可以在扫描范围内显示不同的材料,例如,照亮粘土的金属成分或装饰滑动。本案例研究从杜克大学的放射科医生和策展团队的角度讨论了来自中美洲和南美洲的8个陶瓷容器的医学成像,这些容器可以追溯到大约公元300-1500年。由此产生的CT扫描揭示了古代艺术实践,以及这些物品在仪式和音乐表演中的使用。本文概述了这些发现,同时提供了在博物馆和医学成像部门之间建立伙伴关系的最佳实践建议。
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引用次数: 0
Talking to Strangers About Science: Youth Facilitators and Family Learning at the Natural History Museum 与陌生人谈论科学:自然历史博物馆的青少年辅导员和家庭学习
IF 1 4区 社会学 0 HUMANITIES, MULTIDISCIPLINARY Pub Date : 2025-02-25 DOI: 10.1111/cura.12669
Karen Knutson, Kevin Crowley, Preeti Gupta, Albeliza Perez, Nickcoles Martinez, Rachel Chaffee

Dioramas are an iconic part of natural history museums that present complex scientific content in a naturalistic scenic setting. Museums have struggled with how best to help visitors view and engage in learning at these exhibits. Recognizing the importance of human facilitation around these exhibits, we conducted a study to explore conversational interactions between families and facilitators designed to support learning. This study included 27 family interactions (adults plus children aged 5–16) with seven college-aged facilitators at five different exhibit areas in the museum. Results highlight the richness and challenges of developing these interactions, including the ways that facilitators engaged families in talking about topics exhibited, asking questions, and the role of trust and family support in creating productive family conversations.

立体模型是自然历史博物馆的标志性部分,在自然主义的风景设置中呈现复杂的科学内容。博物馆一直在为如何最好地帮助参观者观看和参与这些展品的学习而苦苦挣扎。认识到人类促进这些展品的重要性,我们进行了一项研究,探索家庭和促进者之间旨在支持学习的对话互动。这项研究包括27个家庭互动(成人加上5-16岁的儿童),在博物馆的五个不同的展区有7个大学年龄的辅导员。结果强调了发展这些互动的丰富性和挑战,包括促进者让家庭参与讨论所展示的主题、提出问题的方式,以及信任和家庭支持在创造富有成效的家庭对话中的作用。
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引用次数: 0
Repatriation and Ethnographic Archives: Katherine Routledge's Mangareva Field Notes in the Royal Geographic Society Collections 遣返和民族志档案:凯瑟琳·劳特利奇在皇家地理学会收藏的曼加雷瓦野外笔记
IF 1 4区 社会学 0 HUMANITIES, MULTIDISCIPLINARY Pub Date : 2024-12-20 DOI: 10.1111/cura.12668
James L. Flexner, Sarah L. Evans, Albert Faahei Hugues

Just over 100 years after Katherine Routledge's 1921–1922 expedition to the Mangareva Islands, digitized copies of a portion of her field notes from the Royal Geographical Society (with IBG) in London were returned to the source community in French Polynesia. Historical ethnographic fieldnotes represent an underutilized primary source of cultural knowledge in repatriation activities as part of a broader push by cultural institutions to decolonize. Broadening access to this kind of information raises unresolved issues about how best to manage archival documents among Oceanic communities living in a digital world. Ongoing questions include the legitimacy of digital return of documents or objects as opposed to physical originals; and how much use or value source communities receive from such returns. We advocate for addressing these on a case-by-case basis, in conversation with community collaborators, and explain our reasoning and approaches in this Mangarevan example.

在凯瑟琳·劳特利奇(Katherine Routledge) 1921-1922年对曼加雷瓦群岛(Mangareva Islands)的探险100多年后,她从伦敦皇家地理学会(与IBG一起)获得的部分野外笔记的数字化副本被归还在法属波利尼西亚的原始社区。作为文化机构更广泛地推动非殖民化的一部分,历史人种学实地记录是遣返活动中未得到充分利用的文化知识的主要来源。扩大对这类信息的访问引发了一个悬而未决的问题,即如何最好地管理生活在数字世界中的大洋洲社区的档案文件。正在进行的问题包括,与实物原件相反,文件或物品的数字返还的合法性;以及源社区从这些回报中获得了多少使用或价值。我们主张在个案的基础上,在与社区合作者的对话中解决这些问题,并在Mangarevan示例中解释我们的推理和方法。
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引用次数: 0
Communicating Through Sound in Museums: A Genre-Based Framework 博物馆中的声音交流:基于体裁的框架
IF 1 4区 社会学 0 HUMANITIES, MULTIDISCIPLINARY Pub Date : 2024-12-16 DOI: 10.1111/cura.12667
Alcina Cortez

Sound, often perceived as intangible, is now increasingly recognized as a tangible entity, sparking significant research interest. Museum practitioners and curators are particularly drawn to sound's interactional prospects, its expressive capabilities, and its ability to convey meaning, whether in representational, emotional, aesthetic/hedonistic, or sensorial terms. I initially proposed a typology that classifies multimodal museum practices centered on sound. This was the focal point of my article Museums as Sites for Displaying Sound Materials: A Five-Use Framework (Cortez 2022), where I delineated five categories—each pinpointing a distinct area of practice. The present article introduces two revisions. Firstly, it expands this theoretical framework by introducing two additional categories. Secondly, it further solidifies the entire framework by adopting a genre-based approach, inspired by Michael Halliday's functional grammar. My insights into each category are illustrated with real-world-examples from the 104 exhibitions I have visited, showcasing sound in various creative ways.

声音,通常被认为是无形的,现在越来越被认为是有形的实体,引发了重大的研究兴趣。博物馆从业者和策展人特别被声音的互动前景、表达能力和传达意义的能力所吸引,无论是在代表性、情感、美学/享乐主义还是感官方面。我最初提出了一种类型学,将以声音为中心的多模式博物馆实践进行分类。这是我的文章“博物馆作为展示声音材料的场所:五种用途框架”(Cortez 2022)的焦点,在那里我描绘了五个类别-每个类别都精确地指出了一个独特的实践领域。本文介绍了两个修订。首先,通过引入两个额外的类别扩展了这一理论框架。其次,受Michael Halliday的功能语法启发,采用基于体裁的方法进一步巩固了整个框架。我对每个类别的见解都用我参观过的104个展览中的真实例子来说明,这些展览以各种创造性的方式展示了声音。
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引用次数: 0
Passing the Baton 传递接力棒
IF 1 4区 社会学 0 HUMANITIES, MULTIDISCIPLINARY Pub Date : 2024-11-28 DOI: 10.1111/cura.12665
John Fraser

With great enthusiasm, I am pleased to announce that Wiley has appointed two distinguished museum scholars as my successors in the role of Editors-in-Chief of this journal. Dr. Theano Moussouri of University College London and Dr. Laura-Edythe Coleman of Drexel University, both of whom have served as Associate Editors for many years, will be stepping into this role. Dr. Moussouri joined the journal as Books Editor in the early 2000s and has been a steadfast presence through many of the changes made to support our readers. Together, their experience ensures continuity as the journal navigates the challenges of the coming decade. I invite everyone to warmly welcome them into their new roles.

A journal's identity is shaped not solely by its editorial leadership but by its authors' willingness to engage with constructive critique. Editors provide a compassionate framework for criticism, guiding authors to strengthen their work and withstand external scrutiny. Drs. Moussouri and Coleman possess these qualities, and I am confident in their ability to uphold the journal's standards as I pass the baton.

As I conclude my tenure as Editor-in-Chief, I reflect on the journal's storied past, shaped by my immediate predecessors Zahava Doering (2000s–2010s) and Sam Taylor (1990s–2000s). Founded in the 1950s by curators at the American Museum of Natural History, the journal was created to meet a critical need: establishing a scholarly publication for museum studies that could match the rigor of journals where museum researchers published their disciplinary work in art, anthropology, and natural history. Its early trajectory mirrored the post-war optimism of the United States, where the museum field was expanding rapidly, in contrast to Europe, where museums were still recovering and rebuilding. This foundation underscored the academic significance of museum studies across both the humanities and sciences. However, much of the initial content reflected a distinctly American perspective, often favoring a descriptive, “show-and-tell” approach.

By the late 1990s, the journal transitioned under new leadership to the California Academy of Sciences, where my predecessor, Dr. Zahava Doering, assumed the Editorship. During this period, I joined as an Associate Editor, tasked with identifying a new publisher and shaping a more global vision for the journal. This journey led to Wiley, initially as our publisher and, since 2015, as the journal's commercial owner. Together, we have evolved into a platform for global scholarship in museum studies.

Since joining the Wiley family, the journal has expanded its reach, developed a global editorial board reflective of its diverse readership, and embraced innovation in accessibility. Notable achievements include the adoption of screen reader-ready Alternative Text (AltText), the experiments with fellowship grant programs for new authors, and the launch of a translations initiative to support non-English re

怀着极大的热情,我很高兴地宣布,Wiley已经任命了两位杰出的博物馆学者作为我的继任者,担任本刊的主编。伦敦大学学院的Theano Moussouri博士和Drexel大学的Laura-Edythe Coleman博士都担任了多年的副编辑,他们将接任这一职位。穆萨里博士于21世纪初加入该杂志,担任图书编辑,并在为支持我们的读者而做出的许多变化中一直坚定地存在。他们的经验共同确保了《华尔街日报》在未来十年应对挑战时的连续性。我邀请大家热烈欢迎他们进入新的角色。期刊的身份不仅取决于其编辑领导,还取决于其作者是否愿意接受建设性的批评。编辑为批评提供了一个富有同情心的框架,指导作者加强他们的工作并经受住外部审查。Drs。穆萨里和科尔曼具备这些品质,我相信在我的接力棒交接过程中,他们有能力维护《华尔街日报》的标准。在结束总编任期之际,我回顾了《华尔街日报》在前任扎哈瓦·多林(2000年至2010年)和萨姆·泰勒(1990年至2000年)的影响下的辉煌历史。该杂志于20世纪50年代由美国自然历史博物馆的策展人创立,旨在满足一项关键需求:为博物馆研究建立一份学术出版物,使其能够与博物馆研究人员发表艺术、人类学和自然历史学科工作的期刊相媲美。它的早期发展轨迹反映了战后美国的乐观主义,当时美国的博物馆领域正在迅速扩张,而欧洲的博物馆仍在恢复和重建中。这个基金会强调了博物馆研究在人文和科学领域的学术意义。然而,最初的许多内容反映了一种明显的美国观点,往往倾向于描述性的“展示-说明”方法。到20世纪90年代末,该杂志在新的领导下移交给加州科学院,我的前任扎哈瓦·多林博士担任主编。在此期间,我以副主编的身份加入,负责寻找新的出版商,并为该期刊塑造更全球化的视野。这段旅程造就了Wiley,他最初是我们的出版商,自2015年以来,他成为了杂志的商业所有者。我们已经共同发展成为博物馆研究领域的全球学术平台。自从加入威利家族以来,该杂志扩大了其影响范围,建立了一个反映其多样化读者的全球编辑委员会,并在可访问性方面进行了创新。值得注意的成就包括采用可用于屏幕阅读器的替代文本(AltText),为新作者提供奖学金资助计划的实验,以及发起一项支持非英语研究的翻译倡议。我们还率先推出了一些特别节目,处理具有开创性和争议性的话题。其中包括《象牙和象牙禁运》、《非洲现代遗产》(MoHoA)、《人类世现代遗产》(MoHoA2)、关注博物馆声音环境的《Sonic》特刊,以及关于有争议的历史文物的发人深省的《Notorious》特刊。最近,我们的特刊《监禁》由即将上任的总编辑Moussouri博士与世界各地的编辑委员会成员合作客座编辑。在我任职期间,Wiley一直在寻找新的方法来创新其出版组合。去年7月,他们推出了一个新的评审平台,旨在简化编辑流程,加强作者和审稿人之间的沟通。一旦完全实现,这个更干净、更直观的界面有望随着用户的熟悉而提高效率。最后,我要向编辑团队、编辑委员会和所有审稿人致以最深切的感谢,他们的努力不断提高了期刊的质量。多年来,我们的指数排名持续增长25%,这是一项共同的成就,这是审稿人、作者、董事会成员和工作人员共同努力的结果。担任主编是我的荣幸,我热切地期待着《华尔街日报》在Laura-Edythe和Theano的领导下继续发展。
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引用次数: 0
Biodiversity Data Curation as a Profession in South African Natural Science Museums 南非自然科学博物馆的生物多样性数据管理
IF 1 4区 社会学 0 HUMANITIES, MULTIDISCIPLINARY Pub Date : 2024-11-27 DOI: 10.1111/cura.12666
Willem Coetzer, Mark Lisher

We reflect on our work with several South African natural science museums, most of which lack positions dedicated to managing biodiversity data. We argue that there is a need to recognize the profession of biodiversity data curation, an example of which is described in the area of taxonomic data cleansing and publication. Greater recognition could elevate this work to a professional level and address the lack of capacity in museums, encourage data curators to develop their skills, and give museums a well-trained cohort from which to recruit professionals. We argue that the use of industry-standard tools and practices will improve the integrity, security, and usefulness of potentially valuable biodiversity data. We propose a model of joint responsibility for server administration and biodiversity database hosting, to enable under-resourced museums to benefit from the systems administration capacity of a well-resourced organization.

我们反思了我们与几个南非自然科学博物馆的合作,其中大多数缺乏专门管理生物多样性数据的职位。我们认为有必要认识到生物多样性数据管理的职业,其中一个例子是在分类学数据清理和出版领域描述的。更多的认可可以将这项工作提升到专业水平,解决博物馆能力不足的问题,鼓励数据策展人发展他们的技能,并为博物馆提供一支训练有素的队伍,从中招募专业人员。我们认为,使用行业标准的工具和实践将提高潜在有价值的生物多样性数据的完整性、安全性和实用性。我们提出了一个服务器管理和生物多样性数据库托管共同责任的模型,使资源不足的博物馆能够从资源充足的组织的系统管理能力中受益。
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引用次数: 0
Moral Feeling in a Museum: Learning Through an Exemplar-Based Thematic Exhibition 博物馆中的道德感:通过以范例为基础的主题展览学习
IF 1 4区 社会学 0 HUMANITIES, MULTIDISCIPLINARY Pub Date : 2024-11-27 DOI: 10.1111/cura.12664
Yanpeng Song

In this paper, I explore the rational and characteristics of exemplar-based thematic exhibitions as an approach to promoting children's moral feeling in China's museums. This approach concerns the interaction between historical events, moral exemplars, as well as children's emotional and moral experiences in the context of an exhibition on a particular theme. By analyzing the specific thematic exhibition titled Caretakers of the Mogao Caves, I will argue that, by focusing on relevant exemplars, affective stories, and reflective dialogues, museums can provide fertile ground for kindling children's moral feelings of empathy and developing their conscience.

在本文中,笔者探讨了以典范为基础的主题展览作为中国博物馆促进儿童道德情感的一种方法的合理性和特点。这一方法涉及历史事件、道德典范以及儿童在特定主题展览中的情感和道德体验之间的互动。通过对《莫高窟的守护者》这一特定主题展览的分析,我将论证,通过关注相关典范、情感故事和反思对话,博物馆可以为激发儿童的道德情感、培养他们的良知提供肥沃的土壤。
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引用次数: 0
Red Tourists and National Identity in the Museum Commemorating Deng Xiaoping
IF 1 4区 社会学 0 HUMANITIES, MULTIDISCIPLINARY Pub Date : 2024-11-22 DOI: 10.1111/cura.12661
Yong Tang, Suya Tan, Shuang Zhao, Weiyu Cheng

This study aims to identify types of red tourists based on their travel motivations for visiting the museum commemorating Deng Xiaoping, with a focus on their experiential sense of national identity conceived by the two identified groups ahead of the centennial celebration of the Communist Party of China. Survey data collected from 349 mainland Chinese tourists revealed that red tourism in China is a complex cultural, social, and economic phenomenon, rather than merely an agent of political socialization, because the museum attracts red tourists who are interested not only in patriotic education and commemoration but also in leisure and recreation. Red visitors seem to be patriots who identify China as a multi-ethnic country and a great nation, whereas red pilgrims are more likely to align with specific political ideologies, such as socialist road and core socialist values. The study enhances our understanding of the types of red tourists and their individual differences in travel motivations and national identity, suggesting curators evaluate the effectiveness of their marketing strategies and consider making minor changes to the exhibits for different types of visitors.

​从349名中国大陆游客中收集的调查数据显示,红色旅游在中国是一种复杂的文化、社会和经济现象,而不仅仅是政治社会化的代理人,因为博物馆吸引的红色游客不仅对爱国主义教育和纪念感兴趣,而且对休闲和娱乐感兴趣。红色游客似乎是爱国者,他们认为中国是一个多民族的国家,是一个伟大的国家,而红色朝圣者更有可能与特定的政治意识形态相一致,如社会主义道路和社会主义核心价值观。该研究增强了我们对红色游客类型以及他们在旅游动机和民族认同方面的个体差异的理解,建议策展人评估其营销策略的有效性,并考虑为不同类型的游客对展品进行细微的改变。
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引用次数: 0
All That Glitters is Not Gold: Viewer Understanding of Felix Gonzalez-Torres's Candy Spill Installations 所有闪闪发光的都不是金子:观众对菲利克斯·冈萨雷斯-托雷斯的糖果溢出装置的理解
IF 1 4区 社会学 0 HUMANITIES, MULTIDISCIPLINARY Pub Date : 2024-11-21 DOI: 10.1111/cura.12663
Rachel Trusty

The push to “queer the museum” calls for an increase in the inclusion of LGBT+ artworks and artists as an intervention into the heterosexual museum and canon. While popular, the display of queer, abstract objects is complicated as many museum visitors do not perceive the LGBT+ themes. In this article, I present the data on audience interpretation of two candy spill installations, Untitled (L.A.) (1991) and Untitled (Placebo-Landscape-for-Roni) (1993), when they were featured in exhibitions at Crystal Bridges Museum of American Art in Bentonville, AR. Participant observation of and interviews with visitors demonstrate that while they understood the piece as a disruption to the site, no LGBT+ content was perceived. I make specific recommendations to museums based on the findings that argue the installation display, label text and placement, and museum staff training impact the viewer's understanding. As museums continue to participate in the queer turn, more should be considered when tackling the ethical display of LGBT+ works.

“酷儿博物馆”的推动要求增加LGBT+艺术作品和艺术家的参与,作为对异性恋博物馆和经典的干预。虽然很受欢迎,但酷儿、抽象物品的展示是复杂的,因为许多博物馆的参观者并没有意识到LGBT+的主题。在这篇文章中,我展示了观众对两件糖果溢出装置的解读数据,《Untitled》(洛杉矶)(1991)和《Untitled》(安慰剂-景观-罗尼)(1993),当它们在本顿维尔的水晶桥美国艺术博物馆展出时。参与者的观察和对参观者的采访表明,虽然他们认为这件作品是对现场的破坏,但没有感知到LGBT+的内容。根据研究结果,我向博物馆提出了具体的建议,这些建议认为装置的展示、标签文本和位置以及博物馆工作人员的培训会影响观众的理解。随着博物馆继续参与酷儿转向,在处理LGBT+作品的道德展示时,应该考虑更多。
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引用次数: 0
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