Pub Date : 2017-01-02DOI: 10.1080/15596893.2017.1289779
Mary Rizzo
ABSTRACT Every day approximately 34,000 people are held in immigration detention centers across the United States, including asylum seekers fleeing persecution and violence. Yet they are often invisible in our public discourse about immigration and mass incarceration. For the Humanities Action Lab’s States of Incarceration traveling exhibition, students at Rutgers University–Newark researched a “riot” that occurred at a New Jersey detention center in 1995. To center the voices of the detainees, we used the technique of reading against the grain, or interpreting documentary evidence to gain information counter to the perspective of the original creators, with news articles, photos, and legal depositions. This article discusses difficulties finding archival information about immigration detention and using the practice of reading against the grain to emphasize the agency of detainees, developing a practice of use to museum professionals eager to contend with contemporary social issues when there are few or compromised sources.
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Pub Date : 2017-01-02DOI: 10.1080/15596893.2017.1300853
L. Ševčenko
What I have found to be most surprising about the course thus far has not been from our read-ings but my classmates ’ surprise to the state of the prison system in the United States. As an African American woman from a working class Detroit neighborhood, the criminal justice system has never been that far away from my reality … But, my experience, as my classmates have demonstrated, are not as universal as I once thought … My classmates, I realize, represent the public that we are trying to reach through this exhibition. People who come from backgrounds like mine, who have been experiencing this world for so long, sometimes forget that others can be blind to it.
{"title":"Remembering the age of mass incarceration","authors":"L. Ševčenko","doi":"10.1080/15596893.2017.1300853","DOIUrl":"https://doi.org/10.1080/15596893.2017.1300853","url":null,"abstract":"What I have found to be most surprising about the course thus far has not been from our read-ings but my classmates ’ surprise to the state of the prison system in the United States. As an African American woman from a working class Detroit neighborhood, the criminal justice system has never been that far away from my reality … But, my experience, as my classmates have demonstrated, are not as universal as I once thought … My classmates, I realize, represent the public that we are trying to reach through this exhibition. People who come from backgrounds like mine, who have been experiencing this world for so long, sometimes forget that others can be blind to it.","PeriodicalId":29738,"journal":{"name":"Museums & Social Issues-A Journal of Reflective Discourse","volume":"12 1","pages":"13 - 3"},"PeriodicalIF":0.0,"publicationDate":"2017-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/15596893.2017.1300853","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44345565","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2016-07-02DOI: 10.1080/15596893.2016.1204590
Samantha L. Rumschlag
{"title":"From museum critique to the critical museum, edited by Katarzyna Murawska-Muthesius and Piotr Piotrowski, Farnham, Ashgate, 2015, 256 pp., £65 (hardback), ISBN: 978-147 2422354","authors":"Samantha L. Rumschlag","doi":"10.1080/15596893.2016.1204590","DOIUrl":"https://doi.org/10.1080/15596893.2016.1204590","url":null,"abstract":"","PeriodicalId":29738,"journal":{"name":"Museums & Social Issues-A Journal of Reflective Discourse","volume":"11 1","pages":"156 - 158"},"PeriodicalIF":0.0,"publicationDate":"2016-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/15596893.2016.1204590","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"60438955","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2016-07-02DOI: 10.1080/15596893.2016.1204598
Harold Johnson
ABSTRACT Facial reconstruction uses the skull as a framework on which media are built up according to predetermined anatomical guidelines. The process is an amalgam of science and sculpture, and thus occupies a unique place within museums, forensic science, and anthropology. Yet it is necessary to cultivate among its experts a greater sensitivity to the ethical and social questions surrounding their work since such issues have not received adequate attention. This paper examines the racial implications behind reconstructing faces, the ethics of their curation in museum settings, and suggests new approaches to both.
{"title":"Craniofacial reconstruction and its socio-ethical implications","authors":"Harold Johnson","doi":"10.1080/15596893.2016.1204598","DOIUrl":"https://doi.org/10.1080/15596893.2016.1204598","url":null,"abstract":"ABSTRACT Facial reconstruction uses the skull as a framework on which media are built up according to predetermined anatomical guidelines. The process is an amalgam of science and sculpture, and thus occupies a unique place within museums, forensic science, and anthropology. Yet it is necessary to cultivate among its experts a greater sensitivity to the ethical and social questions surrounding their work since such issues have not received adequate attention. This paper examines the racial implications behind reconstructing faces, the ethics of their curation in museum settings, and suggests new approaches to both.","PeriodicalId":29738,"journal":{"name":"Museums & Social Issues-A Journal of Reflective Discourse","volume":"11 1","pages":"113 - 97"},"PeriodicalIF":0.0,"publicationDate":"2016-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/15596893.2016.1204598","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"60439063","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2016-07-02DOI: 10.1080/15596893.2016.1204591
Ashleigh Breske
of this work. From Museum Critique to Critical Museum is simultaneously thoughtful and challenging, sometimes shocking, but well-reasoned and respectful. The ideas within it will be difficult for many museums to adopt, but they are at the very least worthy of our consideration. Regardless of one’s stance on social issues, no honest museum professional can dispute the authors’ main point: that any museum’s aura of neutrality is at best a façade and that museums stand to better serve the public when they are honest with themselves and their patrons about their own limitations and biases and are prepared to reconsider them. This work, while unorthodox, deserves a place on the shelf of every museum professional who holds serving the public as effectively and ethically as possible as an overriding objective.
{"title":"We Are Coming Home: Repatriation and the Restoration of Blackfoot Cultural Confidence, edited by Gerald T. Conaty. 280 pp. Athabasca University Press, Edmonton, AB. 2015. ISBN-13: 978-1771990172.","authors":"Ashleigh Breske","doi":"10.1080/15596893.2016.1204591","DOIUrl":"https://doi.org/10.1080/15596893.2016.1204591","url":null,"abstract":"of this work. From Museum Critique to Critical Museum is simultaneously thoughtful and challenging, sometimes shocking, but well-reasoned and respectful. The ideas within it will be difficult for many museums to adopt, but they are at the very least worthy of our consideration. Regardless of one’s stance on social issues, no honest museum professional can dispute the authors’ main point: that any museum’s aura of neutrality is at best a façade and that museums stand to better serve the public when they are honest with themselves and their patrons about their own limitations and biases and are prepared to reconsider them. This work, while unorthodox, deserves a place on the shelf of every museum professional who holds serving the public as effectively and ethically as possible as an overriding objective.","PeriodicalId":29738,"journal":{"name":"Museums & Social Issues-A Journal of Reflective Discourse","volume":"11 1","pages":"158 - 160"},"PeriodicalIF":0.0,"publicationDate":"2016-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/15596893.2016.1204591","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"60439022","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2016-07-02DOI: 10.1080/15596893.2016.1217460
Christopher Leitch, R. Youngs, Annette Gavigan, M. Lesperance, W. Burns, B. Cohen-Stratyner, P. Hammond, J. Hansen
ABSTRACT Beginning in 2014, the LGBTQ Alliance professional network of the American Alliance of Museums (AAM) met to develop and publish a broad set of LGBTQ Welcoming Guidelines for Museums. The authors sought to help museums be more inclusive of lesbian, gay, bisexual, transgender and queer staff and visitors. The Guidelines conform to the most recent established standards of professional practice in museums and touch on all areas of museum work; they may be viewed as part informational reference, part institutional self-assessment tool. The Guidelines were unveiled at the AAM’s 2016 annual meeting, and are now available at no charge online (http://www.aam-us.org/resources/professional-networks/lgbtq). The LGBTQ Alliance encourages readers to use and review the Guidelines and to make observations, critiques and corrections directly to the current chair, Mike Lesperance (mike@thedesignminds.com).
{"title":"LGBTQ Welcoming Guidelines for Museums: developing a resource for the museum field","authors":"Christopher Leitch, R. Youngs, Annette Gavigan, M. Lesperance, W. Burns, B. Cohen-Stratyner, P. Hammond, J. Hansen","doi":"10.1080/15596893.2016.1217460","DOIUrl":"https://doi.org/10.1080/15596893.2016.1217460","url":null,"abstract":"ABSTRACT Beginning in 2014, the LGBTQ Alliance professional network of the American Alliance of Museums (AAM) met to develop and publish a broad set of LGBTQ Welcoming Guidelines for Museums. The authors sought to help museums be more inclusive of lesbian, gay, bisexual, transgender and queer staff and visitors. The Guidelines conform to the most recent established standards of professional practice in museums and touch on all areas of museum work; they may be viewed as part informational reference, part institutional self-assessment tool. The Guidelines were unveiled at the AAM’s 2016 annual meeting, and are now available at no charge online (http://www.aam-us.org/resources/professional-networks/lgbtq). The LGBTQ Alliance encourages readers to use and review the Guidelines and to make observations, critiques and corrections directly to the current chair, Mike Lesperance (mike@thedesignminds.com).","PeriodicalId":29738,"journal":{"name":"Museums & Social Issues-A Journal of Reflective Discourse","volume":"11 1","pages":"138 - 146"},"PeriodicalIF":0.0,"publicationDate":"2016-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/15596893.2016.1217460","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"60439808","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2016-07-02DOI: 10.1080/15596893.2016.1217461
Holly Cusack-McVeigh
ABSTRACT On April 1, 2014, after months of investigative work and intensive planning, FBI agents knocked on the door of a private collector in rural Indiana. This was the start of a complex, multi-year investigation that resulted in the recovery of several thousand objects of cultural heritage. The collection, noted by scholars and agents alike for its “astounding global and temporal scope,” included material culture from places as diverse as Colombia, China, Peru, Ecuador, Haiti, the Dominican Republic, Mexico, New Zealand, Papua New Guinea, Italy, Canada and the United States. What is most relevant, however, is the way the FBI has handled the case and why it may prove to be a replicable model. This article examines this unique, collaborative approach and its implications for future cases worldwide. It also highlights the moral issues surrounding cultural heritage protection and the shared sense of responsibility that this investigation engendered among stakeholders.
{"title":"New paths to social justice and recovering the past","authors":"Holly Cusack-McVeigh","doi":"10.1080/15596893.2016.1217461","DOIUrl":"https://doi.org/10.1080/15596893.2016.1217461","url":null,"abstract":"ABSTRACT On April 1, 2014, after months of investigative work and intensive planning, FBI agents knocked on the door of a private collector in rural Indiana. This was the start of a complex, multi-year investigation that resulted in the recovery of several thousand objects of cultural heritage. The collection, noted by scholars and agents alike for its “astounding global and temporal scope,” included material culture from places as diverse as Colombia, China, Peru, Ecuador, Haiti, the Dominican Republic, Mexico, New Zealand, Papua New Guinea, Italy, Canada and the United States. What is most relevant, however, is the way the FBI has handled the case and why it may prove to be a replicable model. This article examines this unique, collaborative approach and its implications for future cases worldwide. It also highlights the moral issues surrounding cultural heritage protection and the shared sense of responsibility that this investigation engendered among stakeholders.","PeriodicalId":29738,"journal":{"name":"Museums & Social Issues-A Journal of Reflective Discourse","volume":"11 1","pages":"114 - 121"},"PeriodicalIF":0.0,"publicationDate":"2016-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/15596893.2016.1217461","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"60439524","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2016-07-02DOI: 10.1080/15596893.2016.1218697
Margaret Middleton
ABSTRACT This case study describes the process of creating Mimi’s Family: Photography by Matthew Clowney, a groundbreaking art exhibit for children and their families featuring photographs of a family with a transgender grandparent. Developed by Boston Children’s Museum, the exhibit was designed to help trans families feel welcome in the museum and spark empathy in visitors who may not (to their knowledge) have transgender people in their lives. This topic is unique for a children’s museum setting. Starting with a genuine collaboration between the artist and the family and continuing with the support of community partnerships, the exhibit development team created an accurate and respectful exhibit. Mimi’s Family gives children and their families a safe and supportive way to talk about what it means to be transgender and what it means to be a family.
本案例研究描述了创作“Mimi’s Family: Photography by Matthew Clowney”的过程，这是一个开创性的儿童及其家庭艺术展，展示了一个有变性祖父母的家庭的照片。该展览由波士顿儿童博物馆(Boston Children’s Museum)开发，旨在让跨性别家庭感到在博物馆里是受欢迎的，并激发那些可能(据他们所知)生活中没有跨性别者的参观者的同情心。这个主题对于儿童博物馆来说是独一无二的。从艺术家和家庭之间的真正合作开始，在社区伙伴关系的支持下，展览开发团队创造了一个准确而尊重的展览。“咪咪之家”为孩子们和他们的家人提供了一个安全和支持的方式，让他们谈论跨性别者意味着什么，以及作为一个家庭意味着什么。
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