Pub Date : 2021-07-01DOI: 10.3167/armw.2021.090107
Joanna Cobley
Written as notes from the field, this article explores the overlaps between researcher development and the idea of academic resilience within the museum and heritage studies community. During a climate of uncertainty and rapid change, it argues that alongside the academic literature, positive psychology methods transfer well into the researcher development space. Methods involved informal email conversations with museum and heritage practitioners united by how COVID-19 and border lockdown presented new opportunities to connect, share ideas, and rethink. Presented as short narratives, these findings show how researchers and practitioners in northern Europe, the United Kingdom and Canada share similar concerns to those in the southern hemisphere about climate change, equity, well-being, resilience, and sustainability. These narratives highlight the importance of encouraging critical engagement, finding ways to traverse time zones that build international networks and provide leadership opportunities for researchers at any level.
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Pub Date : 2021-07-01DOI: 10.3167/armw.2021.090106
S. Knell
This article is a re-edited version of the opening prelude to the author’s The Museum’s Borders: On the Challenge of Knowing and Remembering Well (Routledge, 2021). Based on reportage concerning the Windrush scandal, this article makes the case for the museum to be understood as an autonomous institution critical to knowledge-based democracies. The scandal, exposed in 2018, was the result of the British Government’s “hostile environment,” a brutal approach to immigration that ensnared historic migrants to Britain from the Caribbean. Resulting in state violence against Black British citizens, it revealed the degree to which Britain remained mired in institutional racism. Museums, libraries, and other cultural institutions played a critical role in recovering and asserting the history and legitimacy of these people.
{"title":"Border Violence, Democracy, and the Museum","authors":"S. Knell","doi":"10.3167/armw.2021.090106","DOIUrl":"https://doi.org/10.3167/armw.2021.090106","url":null,"abstract":"This article is a re-edited version of the opening prelude to the author’s The Museum’s Borders: On the Challenge of Knowing and Remembering Well (Routledge, 2021). Based on reportage concerning the Windrush scandal, this article makes the case for the museum to be understood as an autonomous institution critical to knowledge-based democracies. The scandal, exposed in 2018, was the result of the British Government’s “hostile environment,” a brutal approach to immigration that ensnared historic migrants to Britain from the Caribbean. Resulting in state violence against Black British citizens, it revealed the degree to which Britain remained mired in institutional racism. Museums, libraries, and other cultural institutions played a critical role in recovering and asserting the history and legitimacy of these people.","PeriodicalId":40959,"journal":{"name":"Museum Worlds","volume":"31 1","pages":""},"PeriodicalIF":1.3,"publicationDate":"2021-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75452106","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 : 2021-07-01DOI: 10.3167/armw.2021.090111
Tijana Žakula
On 9 October 1947, the National Gallery in London opened the Exhibition of Cleaned Pictures. Some seventy masterpieces that had undergone various treatments since 1936 were brought together and exhibited in this groundbreaking show. Much criticized, but also praised by many, the exhibition sparked the so-called “cleaning controversy.” It goes without saying that both the exhibition as well as the ensuing controversy impacted generations of scholars of all stripes. So much so that the exhibition was mentioned in virtually all the lectures that were delivered during the Brill Nuncius seminar held on 29–30 April 2021, which focused on the formation of conservation science in the post-World War II period, from the 1940s through the 1970s.
{"title":"The Making of Conservation Science","authors":"Tijana Žakula","doi":"10.3167/armw.2021.090111","DOIUrl":"https://doi.org/10.3167/armw.2021.090111","url":null,"abstract":"On 9 October 1947, the National Gallery in London opened the Exhibition of Cleaned Pictures. Some seventy masterpieces that had undergone various treatments since 1936 were brought together and exhibited in this groundbreaking show. Much criticized, but also praised by many, the exhibition sparked the so-called “cleaning controversy.” It goes without saying that both the exhibition as well as the ensuing controversy impacted generations of scholars of all stripes. So much so that the exhibition was mentioned in virtually all the lectures that were delivered during the Brill Nuncius seminar held on 29–30 April 2021, which focused on the formation of conservation science in the post-World War II period, from the 1940s through the 1970s.","PeriodicalId":40959,"journal":{"name":"Museum Worlds","volume":"4 1","pages":""},"PeriodicalIF":1.3,"publicationDate":"2021-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78888666","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}
Care-ful Participation in Museums: A Review of The Museum as a Space of Social Care by Nuala Morse
细心参与博物馆:纽拉·莫尔斯《博物馆作为社会关怀的空间》述评
{"title":"Book Review Essay","authors":"Inge Zwart, Susanne Boersma, Franziska Mucha, Cassandra Kist","doi":"10.3167/armw.2021.090115","DOIUrl":"https://doi.org/10.3167/armw.2021.090115","url":null,"abstract":"Care-ful Participation in Museums: A Review of The Museum as a Space of Social Care by Nuala Morse","PeriodicalId":40959,"journal":{"name":"Museum Worlds","volume":"24 1","pages":""},"PeriodicalIF":1.3,"publicationDate":"2021-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83659701","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 : 2021-07-01DOI: 10.3167/armw.2021.090108
Esther Helen McNaughton
How can regional art galleries support the development of cultural understanding in their communities? The 2019 collaborative project Aratoi: Our Journeys to Aotearoa between Nelson, New Zealand’s Suter Art Gallery te Aratoi o Whakatū and eight local schools explored this question. Students’ artworks were hung alongside the gallery’s collection, enriching dialogue within the exhibition through the provision of voices otherwise absent. Building on the gallery’s collection and history, this project demonstrated the evolution of the gallery’s colonial roots into a broader discussion of culture. Participating teachers believed the project allowed public recognition of students’ abilities and ideas; expression of a school community’s special character; cross-curricular learning; cohesive whole school learning; bicultural learning; and pre-service teacher development. It also enabled meaningful exploration of Aotearoa New Zealand’s histories.
区域艺术画廊如何支持社区文化理解的发展?2019年的合作项目Aratoi:我们的Aotearoa之旅，由Nelson、新西兰Suter Art Gallery of Aratoi o whakathi和八所当地学校合作，探讨了这个问题。学生的作品被挂在画廊的收藏品旁边，通过提供原本缺席的声音，丰富了展览中的对话。该项目以画廊的收藏和历史为基础，展示了画廊的殖民根源向更广泛的文化讨论的演变。参与项目的教师认为，这个项目让学生的能力和想法得到了公众的认可;学校社区特色的表达;跨学科学习;全校衔接学习;二元文化的学习;以及职前教师发展。它还使人们能够对新西兰的历史进行有意义的探索。
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Pub Date : 2021-07-01DOI: 10.3167/armw.2021.090103
Susan Dine
In recent decades, the museum world has devoted time and resources to studying the opinions and actions of their visitors; however, it is much more difficult to access perspectives of a more general public that includes non-visitors. This article situates popular visual culture as a form of engagement between museum professionals and the public. By analyzing the museum scene of the Marvel Studios movie Black Panther, as well as responses to it, and then contextualizing these within the history and current events of the museum field, I identify ways in which popularly received visual culture can spur change in other cultural industries—creating productive critiques that can evolve into impactful dialogue and action to model responsive research and more inclusive museum practices.
{"title":"Critique, Dialogue, and Action","authors":"Susan Dine","doi":"10.3167/armw.2021.090103","DOIUrl":"https://doi.org/10.3167/armw.2021.090103","url":null,"abstract":"In recent decades, the museum world has devoted time and resources to studying the opinions and actions of their visitors; however, it is much more difficult to access perspectives of a more general public that includes non-visitors. This article situates popular visual culture as a form of engagement between museum professionals and the public. By analyzing the museum scene of the Marvel Studios movie Black Panther, as well as responses to it, and then contextualizing these within the history and current events of the museum field, I identify ways in which popularly received visual culture can spur change in other cultural industries—creating productive critiques that can evolve into impactful dialogue and action to model responsive research and more inclusive museum practices.","PeriodicalId":40959,"journal":{"name":"Museum Worlds","volume":"3 1","pages":""},"PeriodicalIF":1.3,"publicationDate":"2021-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90424751","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 : 2021-07-01DOI: 10.3167/armw.2021.090114
Sheila K. Hoffman, Aya Tanaka, Bai Xue, Ni Na Camellia Ng, Mingyuan Jiang, Ashleigh McLarin, Sandra Kearney, Riria Hotere-Barnes, Sumi Kim
Museum of Russian Icons, Clinton, Massachusetts by Sheila K. HoffmanLocal Cultures Assisting Revitalization: 10 Years Since the Great East Japan Earthquake, National Museum of Ethology (Minpaku), Osaka by Aya TanakaTianjin Museum of Finance, Tianjin by Bai XueVegetation and Universe: The Collection of Flower and Bird Paintings, Zhejiang Provincial Museum, Hangzhou by Ni Na Camellia NgThree Kingdoms: Unveiling the Story, Tokyo National Museum and Kyushu National Museum, Japan, and China Millennium Monument, Nanshan Museum, Wuzhong Museum, and Chengdu Wuhou Shrine, People’s Republic of China by Mingyuan JiangTempest, Tasmanian Museum and Art Gallery, Hobart by Ashleigh McLarinWonders from the South Australian Museum, South Australian Museum, Adelaide by Sandra KearneyBrett Graham, Tai Moana, Tai Tangata, Govett Brewster Art Gallery, New Plymouth by Riria Hotere-BarnesThe “Inbetweenness” of the Korean Gallery at the Musée Guimet, Paris by Sumi Kim
俄罗斯圣像博物馆，马萨诸塞州克林顿，希拉·k·霍夫曼，地方文化协助振兴:东日本大地震10年，国立动物行为学博物馆(民paku)，大阪，天津金融博物馆，天津，白雪，植被与宇宙:花鸟画集，浙江省博物馆，杭州，倪娜·山茶花三国:揭秘故事，日本东京国立博物馆和九州国立博物馆，中华世纪坛，南山博物馆，吴中博物馆和成都武侯祠，中华人民共和国明远江风暴，塔斯马尼亚博物馆和美术馆，霍巴特由Ashleigh mcclarin南澳大利亚博物馆的奇观，南澳大利亚博物馆，阿德莱德由Sandra KearneyBrett Graham，大莫阿纳，大汤加塔，Govett Brewster美术馆，巴黎mussame Guimet韩国画廊的“中间”(inbetweness)，作者:Sumi Kim
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Pub Date : 2021-07-01DOI: 10.3167/armw.2021.090113
Bruno Brulon Soares, Jennifer Coombes, Ailish Wallace-Buckland, Hollie Tawhiao
The Museum of Removals in Vila Autódromo, Rio de Janeiro by Bruno Brulon SoaresDifferent Histories: A Story of Three Exhibitions in Canberra by Jennifer CoombesNational Treasures: Airing New Zealand’s History on the Small Screen by Ailish Wallace-BucklandE Hina e! E Hine e! Mana Waahine Maaori/Maoli of Past, Present and Future by Hollie Tawhiao
《不同的历史:堪培拉三场展览的故事》作者:詹妮弗·库姆斯《国宝:在小屏幕上播放新西兰的历史》作者:Ailish Wallace-BucklandE china !你好!《毛利人的过去、现在和未来》作者:Hollie tawhao
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Pub Date : 2021-07-01DOI: 10.3167/armw.2021.090104
S. Selwood
Drawing on a literature review of over two hundred items, this commentary describes what drove the English cultural sector’s interest in the social sciences from the 1980s, and the social sciences’ interest in the cultural sector. The social sciences offered the cultural sector the means to evidence and advocate its assertions of social and economic impact in line with government requirements. Their economic valuations and sociological analyses of its patterns of employment were both written on commission and independently. But despite the potential for complementary collaborations, the relationship between the social sciences and the cultural sector has been subject to the conflicting interests of the various constituencies involved. Various economists have commented on the costs of financial value being held in higher regard than human value. Perhaps this will mark a moment when cultural policy and those activities that the state-supports will become more unequivocally celebrated for adding value to society.
{"title":"Social Sciences and the Cultural Sector in England","authors":"S. Selwood","doi":"10.3167/armw.2021.090104","DOIUrl":"https://doi.org/10.3167/armw.2021.090104","url":null,"abstract":"Drawing on a literature review of over two hundred items, this commentary describes what drove the English cultural sector’s interest in the social sciences from the 1980s, and the social sciences’ interest in the cultural sector. The social sciences offered the cultural sector the means to evidence and advocate its assertions of social and economic impact in line with government requirements. Their economic valuations and sociological analyses of its patterns of employment were both written on commission and independently. But despite the potential for complementary collaborations, the relationship between the social sciences and the cultural sector has been subject to the conflicting interests of the various constituencies involved. Various economists have commented on the costs of financial value being held in higher regard than human value. Perhaps this will mark a moment when cultural policy and those activities that the state-supports will become more unequivocally celebrated for adding value to society.","PeriodicalId":40959,"journal":{"name":"Museum Worlds","volume":"18 1","pages":""},"PeriodicalIF":1.3,"publicationDate":"2021-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75488228","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 : 2021-07-01DOI: 10.3167/armw.2021.090112
Sercan Eklemezler
The primary motivation behind this study is assessing how successful “inclusive” urban museums really are in representing ethnic/religious minorities. The research site is Bursa City Museum, Turkey, where the Bursa Jewish Community used to be one of the key social and cultural elements of the city. In-depth interviews are the main method of study, since the opinions of this minority on the subject are the main focus. The main aim here is to reveal the ideas of the community (whose collective memories are threatened with extinction) about being represented in the museum, and from this analysis to make constructive suggestions for the institution. It seems that the community cares about being identified as part of the city, but is indifferent to the institution of the museum, partly due to problems in the ways in which they are represented.
{"title":"What a Museum Cannot Bear Witness To","authors":"Sercan Eklemezler","doi":"10.3167/armw.2021.090112","DOIUrl":"https://doi.org/10.3167/armw.2021.090112","url":null,"abstract":"The primary motivation behind this study is assessing how successful “inclusive” urban museums really are in representing ethnic/religious minorities. The research site is Bursa City Museum, Turkey, where the Bursa Jewish Community used to be one of the key social and cultural elements of the city. In-depth interviews are the main method of study, since the opinions of this minority on the subject are the main focus. The main aim here is to reveal the ideas of the community (whose collective memories are threatened with extinction) about being represented in the museum, and from this analysis to make constructive suggestions for the institution. It seems that the community cares about being identified as part of the city, but is indifferent to the institution of the museum, partly due to problems in the ways in which they are represented.","PeriodicalId":40959,"journal":{"name":"Museum Worlds","volume":"79 1","pages":""},"PeriodicalIF":1.3,"publicationDate":"2021-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83602710","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}
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