Pub Date : 2019-07-01DOI: 10.3167/armw.2019.070103
Francisco Martínez
The first aim of this article is to study the persistence of the collection’s positive presentation of Rosenlew’s industrial heritage, and the second is to anthropologically reconsider what kind of knowledge is generated therein through the preservation and display of factory-made artifacts, which give a sense of concreteness and gravitas to the industrial past. By studying the permanent exhibition and the collections of the Rosenlew Museum and by organizing a workshop with schoolchildren, I reveal the presence of various inertia effects. Long-term corporate values continue to influence the development of the museum’s permanent collection not only through the arrangement of industrial artifacts into a collection but also—at a heuristic level—through epistemological frames and the indexing power of the museum assemblage.
{"title":"The Inertia of Collections","authors":"Francisco Martínez","doi":"10.3167/armw.2019.070103","DOIUrl":"https://doi.org/10.3167/armw.2019.070103","url":null,"abstract":"The first aim of this article is to study the persistence of the collection’s positive presentation of Rosenlew’s industrial heritage, and the second is to anthropologically reconsider what kind of knowledge is generated therein through the preservation and display of factory-made artifacts, which give a sense of concreteness and gravitas to the industrial past. By studying the permanent exhibition and the collections of the Rosenlew Museum and by organizing a workshop with schoolchildren, I reveal the presence of various inertia effects. Long-term corporate values continue to influence the development of the museum’s permanent collection not only through the arrangement of industrial artifacts into a collection but also—at a heuristic level—through epistemological frames and the indexing power of the museum assemblage.","PeriodicalId":40959,"journal":{"name":"Museum Worlds","volume":"136 1","pages":""},"PeriodicalIF":1.3,"publicationDate":"2019-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86626465","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 : 2019-07-01DOI: 10.3167/armw.2019.070112
Gwyneira Isaac, Diana E. Marsh, Laura Osorio Sunnucks, A. Shelton
While museums are perceived as institutions dedicated to the dissemination and exchange of culturally diverse knowledges, museum scholarship has been hampered by a lack of multilingual networks and publications necessary for the exchange of museological perspectives between different linguistic, regional, and national communities. At the same time, the museum decolonization movement, the move from monocultural to pluricultural societies, the political resurgence of cultural essentialism, escalating environmental deterioration, and the international impact of current migration crises—by both uniting and dividing peoples—have clarified the need for institutions to socially and intellectually engage with the increasingly complex global flows and disruptions of people and ideas.
{"title":"Borders and Interruptions","authors":"Gwyneira Isaac, Diana E. Marsh, Laura Osorio Sunnucks, A. Shelton","doi":"10.3167/armw.2019.070112","DOIUrl":"https://doi.org/10.3167/armw.2019.070112","url":null,"abstract":"While museums are perceived as institutions dedicated to the dissemination and exchange of culturally diverse knowledges, museum scholarship has been hampered by a lack of multilingual networks and publications necessary for the exchange of museological perspectives between different linguistic, regional, and national communities. At the same time, the museum decolonization movement, the move from monocultural to pluricultural societies, the political resurgence of cultural essentialism, escalating environmental deterioration, and the international impact of current migration crises—by both uniting and dividing peoples—have clarified the need for institutions to socially and intellectually engage with the increasingly complex global flows and disruptions of people and ideas.","PeriodicalId":40959,"journal":{"name":"Museum Worlds","volume":"76 1","pages":""},"PeriodicalIF":1.3,"publicationDate":"2019-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83852781","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 : 2018-07-01DOI: 10.3167/armw.2018.060108
A. Witcomb, A. Patterson
The discovery of five photographs in 2018 in the State Library of Western Australia led us to the existence of a forgotten private museum housing the collection of Captain Matthew McVicker Smyth in early-twentieth-century Perth. Captain Smyth was responsible for the selling of Nobel explosives used in the agriculture and mining industries. The museum contained mineral specimens in cases alongside extensive, aesthetically organized displays of Australian Aboriginal artifacts amid a wide variety of ornaments and decorative paintings. The museum reflects a moment in the history of colonialism that reminds us today of forms of dispossession, of how Aboriginal people were categorized in Australia by Western worldviews, and of the ways that collectors operated. Our re-creation brings back into existence a significant Western Australian museum and opens up a new discussion about how such private collections came into existence and indeed, in this instance, about how they eventually end.
{"title":"Collections without End","authors":"A. Witcomb, A. Patterson","doi":"10.3167/armw.2018.060108","DOIUrl":"https://doi.org/10.3167/armw.2018.060108","url":null,"abstract":"The discovery of five photographs in 2018 in the State Library of Western\u0000Australia led us to the existence of a forgotten private museum housing the collection\u0000of Captain Matthew McVicker Smyth in early-twentieth-century Perth. Captain Smyth\u0000was responsible for the selling of Nobel explosives used in the agriculture and mining\u0000industries. The museum contained mineral specimens in cases alongside extensive,\u0000aesthetically organized displays of Australian Aboriginal artifacts amid a wide variety\u0000of ornaments and decorative paintings. The museum reflects a moment in the history of\u0000colonialism that reminds us today of forms of dispossession, of how Aboriginal people\u0000were categorized in Australia by Western worldviews, and of the ways that collectors\u0000operated. Our re-creation brings back into existence a significant Western Australian\u0000museum and opens up a new discussion about how such private collections came into\u0000existence and indeed, in this instance, about how they eventually end.","PeriodicalId":40959,"journal":{"name":"Museum Worlds","volume":"85 1","pages":""},"PeriodicalIF":1.3,"publicationDate":"2018-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79387458","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 : 2018-07-01DOI: 10.3167/ARMW.2018.060107
Bronwyn Labrum
This article examines three remarkable New Zealand women, Nancy Adams, Rose Reynolds, and Edna Stephenson, who, as honorary or part-time staff, each began the systematic collecting and display of colonial history at museums in Wellington, Christchurch, and Auckland in the 1950s. Noting how little research has been published on women workers in museums, let alone women history curators, it offers an important correction to the usual story of the heroic, scientific endeavors of male museum directors and managers. Focusing largely on female interests in everyday domestic life, textiles, and clothing, their activities conformed to contemporary gendered norms and mirrored women’s contemporary household role with its emphasis on housekeeping, domestic interiors, and shopping and clothing. This article lays bare the often ad hoc process of “making history” in these museums, and adds complexity and a greater fluidity to the interpretations we have to date of women workers in postwar museums.
{"title":"Women “Making History” in Museums","authors":"Bronwyn Labrum","doi":"10.3167/ARMW.2018.060107","DOIUrl":"https://doi.org/10.3167/ARMW.2018.060107","url":null,"abstract":"This article examines three remarkable New Zealand women, Nancy Adams,\u0000Rose Reynolds, and Edna Stephenson, who, as honorary or part-time staff, each began\u0000the systematic collecting and display of colonial history at museums in Wellington,\u0000Christchurch, and Auckland in the 1950s. Noting how little research has been published\u0000on women workers in museums, let alone women history curators, it offers an important\u0000correction to the usual story of the heroic, scientific endeavors of male museum\u0000directors and managers. Focusing largely on female interests in everyday domestic life,\u0000textiles, and clothing, their activities conformed to contemporary gendered norms and\u0000mirrored women’s contemporary household role with its emphasis on housekeeping,\u0000domestic interiors, and shopping and clothing. This article lays bare the often ad hoc\u0000process of “making history” in these museums, and adds complexity and a greater fluidity\u0000to the interpretations we have to date of women workers in postwar museums.","PeriodicalId":40959,"journal":{"name":"Museum Worlds","volume":"232 1","pages":""},"PeriodicalIF":1.3,"publicationDate":"2018-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79908927","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 : 2018-07-01DOI: 10.3167/armw.2018.060105
Adam Bencard
Within museum studies, there has been a recent interest in engaging with objects and their material effects as something other than vehicles for human cultural meaning. This article contributes to this interest by offering a philosophical argument for the value of close sensory engagement with physical things, an argument found in the works of the eighteenth-century German philosopher Alexander Gottlieb Baumgarten (1714–1762), who is famous for fathering the modern philosophical discourse on aesthetics. Baumgarten outlines what he terms sensate thinking, defined as an analogue to rational thinking, and insists that this form of thinking can be analyzed and sharpened according to its own rules. I discuss how Baumgarten’s aesthetics might be useful for how the curator approaches objects in exhibitions and for understanding how visitors’ sensory engagement with the objects can be important beyond the deciphering of historical narratives and conceptual meanings.
{"title":"Why Looking at Objects Matters","authors":"Adam Bencard","doi":"10.3167/armw.2018.060105","DOIUrl":"https://doi.org/10.3167/armw.2018.060105","url":null,"abstract":"Within museum studies, there has been a recent interest in engaging with objects and their material effects as something other than vehicles for human cultural meaning. This article contributes to this interest by offering a philosophical argument for the value of close sensory engagement with physical things, an argument found in the works of the eighteenth-century German philosopher Alexander Gottlieb Baumgarten (1714–1762), who is famous for fathering the modern philosophical discourse on aesthetics. Baumgarten outlines what he terms sensate thinking, defined as an analogue to rational thinking, and insists that this form of thinking can be analyzed and sharpened according to its own rules. I discuss how Baumgarten’s aesthetics might be useful for how the curator approaches objects in exhibitions and for understanding how visitors’ sensory engagement with the objects can be important beyond the deciphering of historical narratives and conceptual meanings.","PeriodicalId":40959,"journal":{"name":"Museum Worlds","volume":"54 1","pages":""},"PeriodicalIF":1.3,"publicationDate":"2018-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"91129155","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 : 2018-07-01DOI: 10.3167/ARMW.2018.060106
Nathaniel Prottas
In this article, I consider the definition and use of the term dialogue in museum education, focusing on the work of Rika Burnham and Elliot Kai-Kee, whose ramifications for art itself have often been sidelined by educators. First, I examine the relationship between Burnham and Kai-Kee’s theory of education and Hans-Georg Gadamer’s and John Dewey’s writing on art, arguing that dialogical museum teaching implicitly relies on a definition of art as performative. Then, I explore the ramifications of Gadamer’s and Dewey’s definition of art as performative for the field of museum education. Finally, I argue that by understanding art as an active participant in our encounters with it—and by refocusing our attention on art’s role in museum educational practice—we create a radically new argument for museums as educational institutions that bring people and art into dialogue with each other.
{"title":"Between Practice and Theory","authors":"Nathaniel Prottas","doi":"10.3167/ARMW.2018.060106","DOIUrl":"https://doi.org/10.3167/ARMW.2018.060106","url":null,"abstract":"In this article, I consider the definition and use of the term dialogue in\u0000museum education, focusing on the work of Rika Burnham and Elliot Kai-Kee, whose\u0000ramifications for art itself have often been sidelined by educators. First, I examine the\u0000relationship between Burnham and Kai-Kee’s theory of education and Hans-Georg\u0000Gadamer’s and John Dewey’s writing on art, arguing that dialogical museum teaching\u0000implicitly relies on a definition of art as performative. Then, I explore the ramifications\u0000of Gadamer’s and Dewey’s definition of art as performative for the field of museum\u0000education. Finally, I argue that by understanding art as an active participant in our\u0000encounters with it—and by refocusing our attention on art’s role in museum educational\u0000practice—we create a radically new argument for museums as educational institutions\u0000that bring people and art into dialogue with each other.","PeriodicalId":40959,"journal":{"name":"Museum Worlds","volume":"110 4","pages":""},"PeriodicalIF":1.3,"publicationDate":"2018-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.3167/ARMW.2018.060106","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72465692","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 : 2018-07-01DOI: 10.3167/armw.2018.060103
Ken Arnold
This article considers a curiosity-driven approach to curating focused on material culture that visitors encounter in physical spaces. Drawing on research into historical curiosity cabinets, it explores how a contemporary notion of curiosity has been put into practice in the new breed of culturally enlightened museums exploring interdisciplinary approaches to medicine, health, life, and art. Based on an inaugural professorial address at Copenhagen University, it reflects on exhibition projects there and at the Wellcome Collection in London. Museums are institutional machines that generate social understanding from material things. Their physical spaces influence how we learn, think, and feel in public; their material collections feed our comprehension, imagination, and emotions; and induce attentive behavior in curators and visitors.
{"title":"Houses for the Curious","authors":"Ken Arnold","doi":"10.3167/armw.2018.060103","DOIUrl":"https://doi.org/10.3167/armw.2018.060103","url":null,"abstract":"This article considers a curiosity-driven approach to curating focused on\u0000material culture that visitors encounter in physical spaces. Drawing on research into\u0000historical curiosity cabinets, it explores how a contemporary notion of curiosity has\u0000been put into practice in the new breed of culturally enlightened museums exploring\u0000interdisciplinary approaches to medicine, health, life, and art. Based on an inaugural\u0000professorial address at Copenhagen University, it reflects on exhibition projects there\u0000and at the Wellcome Collection in London. Museums are institutional machines that\u0000generate social understanding from material things. Their physical spaces influence how\u0000we learn, think, and feel in public; their material collections feed our comprehension,\u0000imagination, and emotions; and induce attentive behavior in curators and visitors.","PeriodicalId":40959,"journal":{"name":"Museum Worlds","volume":"18 1","pages":""},"PeriodicalIF":1.3,"publicationDate":"2018-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73654852","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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