Pub Date : 2023-03-04DOI: 10.1080/09647775.2023.2196193
P. Cannon-Brookes
In mid-February 2020, as Consultant Curator of The Tabley House Collection for the University of Manchester, I was in Forlí overseeing the loan of a painting to the ‘Ulysses’ exhibition mounted in the Museii San Domenico. The Private View, held during the evening of 14 February, was uncharacteristically subdued and gloomy, and I subsequently reported to the Trustees of The Tabley House Collection that it may have been influenced by the gathering storm in Northern Italy of which I was then not fully aware. I returned to the United Kingdom 15 February and the first cases of the novel Coronavirus in EmiliaRomagna were identified 22 February 2020, with 2644 cases by 14 March. Lock-down imposed by the Italian central government had been extended to the whole of Italy from 9 March 2020, resulting in closure of inter alia all museums and art galleries, and by 16 March 24,747 cases had been notified in Italy. COVID-19 is not the only public health issue which has to be addressed in the museum environment and too little attention has been directed towards combatting respiratory diseases in general when formulating institutional policy. Past experience provides warning signs which can be heeded or ignored, but what practical measures can be derived from it? Long before viruses were recognised as the pathogens transmitting influenza and a range of other respiratory infectious diseases, the principal means of spreading infection had been recognised empirically as respiratory droplets in the air. Infection from surfaces contaminated thereby was the obvious corollary. However, the mechanisms involved in the transfer of pathogens have attracted only limited attention. ‘Respiratory droplets in the air’ is a description which misleads as much as it informs, and questions have to be asked about how droplets of water of different sizes behave in different environmental conditions after exhalation. At the Copenhagen meeting of the International Committee for Museum Security (ICMS) in 2014 I presented a paper, ‘Water Mist Fire Suppression in the Cultural Property Environment: an Update’, which built on the article ‘Water Mist’ for Fire Protection of Historic Buildings and Museums’ which Professor Torgrim Log and I published in Museum Management and Curatorship, vol. 14, 1995, pp. 283–298. In these we drew attention to the characteristics of fine water sprays as fire suppressants and the rate of evaporation of fine water droplets. These findings are also of direct relevance in coming to an understanding of the behaviour of water droplets when expelled from human lungs. As a contaminated droplet evaporates it becomes smaller and under conditions favourable to itself it joins the general melée of dust particles benefitting from Brownian Motion. Recently I had a meeting
2020年2月中旬，作为曼彻斯特大学Tabley House Collection的顾问策展人，我在Forlí监督向圣多梅尼科博物馆(Museii San Domenico)的“尤利西斯”展览出借一幅画。2月14日晚上举行的私人观影会，气氛异常压抑和阴郁，我随后向table House藏品的受托人报告说，它可能受到了意大利北部正在积聚的风暴的影响，当时我还没有完全意识到这一点。我于2月15日返回英国，2020年2月22日在埃米利亚尼亚发现了第一例新型冠状病毒病例，到3月14日已有2644例病例。自2020年3月9日起，意大利中央政府实施的封锁已扩大到整个意大利，导致所有博物馆和艺术画廊关闭，截至3月16日，意大利已通报了24,747例病例。COVID-19并不是唯一需要在博物馆环境中解决的公共卫生问题，在制定机构政策时，对一般呼吸道疾病的关注太少。过去的经验提供了可以注意或忽略的警告信号，但从中可以得出哪些实际措施?早在人们认识到病毒是传播流感和一系列其他呼吸道传染病的病原体之前，根据经验，人们就认识到传播感染的主要途径是空气中的呼吸道飞沫。从被污染的表面感染是显而易见的必然结果。然而，涉及病原体转移的机制只引起了有限的关注。“空气中的呼吸液滴”是一种误导性的描述，它提供了很多信息，必须要问的是，不同大小的水滴在呼出后的不同环境条件下是如何表现的。在2014年国际博物馆安全委员会(ICMS)的哥本哈根会议上，我发表了一篇论文，“文化财产环境中的水雾灭火:更新”，这篇论文建立在Torgrim Log教授和我发表在博物馆管理和策展，1995年第14卷，第283-298页的文章“历史建筑和博物馆防火的水雾”的基础上。在这些报告中，我们注意到细水雾作为灭火剂的特性和细水滴的蒸发速率。这些发现对于理解水滴从人体肺部排出时的行为也有直接的意义。当被污染的液滴蒸发时，它会变得更小，在对它有利的条件下，它会加入到得益于布朗运动的尘埃颗粒的总体群体中。最近我参加了一个会议
{"title":"COVID-19 and the museum environment","authors":"P. Cannon-Brookes","doi":"10.1080/09647775.2023.2196193","DOIUrl":"https://doi.org/10.1080/09647775.2023.2196193","url":null,"abstract":"In mid-February 2020, as Consultant Curator of The Tabley House Collection for the University of Manchester, I was in Forlí overseeing the loan of a painting to the ‘Ulysses’ exhibition mounted in the Museii San Domenico. The Private View, held during the evening of 14 February, was uncharacteristically subdued and gloomy, and I subsequently reported to the Trustees of The Tabley House Collection that it may have been influenced by the gathering storm in Northern Italy of which I was then not fully aware. I returned to the United Kingdom 15 February and the first cases of the novel Coronavirus in EmiliaRomagna were identified 22 February 2020, with 2644 cases by 14 March. Lock-down imposed by the Italian central government had been extended to the whole of Italy from 9 March 2020, resulting in closure of inter alia all museums and art galleries, and by 16 March 24,747 cases had been notified in Italy. COVID-19 is not the only public health issue which has to be addressed in the museum environment and too little attention has been directed towards combatting respiratory diseases in general when formulating institutional policy. Past experience provides warning signs which can be heeded or ignored, but what practical measures can be derived from it? Long before viruses were recognised as the pathogens transmitting influenza and a range of other respiratory infectious diseases, the principal means of spreading infection had been recognised empirically as respiratory droplets in the air. Infection from surfaces contaminated thereby was the obvious corollary. However, the mechanisms involved in the transfer of pathogens have attracted only limited attention. ‘Respiratory droplets in the air’ is a description which misleads as much as it informs, and questions have to be asked about how droplets of water of different sizes behave in different environmental conditions after exhalation. At the Copenhagen meeting of the International Committee for Museum Security (ICMS) in 2014 I presented a paper, ‘Water Mist Fire Suppression in the Cultural Property Environment: an Update’, which built on the article ‘Water Mist’ for Fire Protection of Historic Buildings and Museums’ which Professor Torgrim Log and I published in Museum Management and Curatorship, vol. 14, 1995, pp. 283–298. In these we drew attention to the characteristics of fine water sprays as fire suppressants and the rate of evaporation of fine water droplets. These findings are also of direct relevance in coming to an understanding of the behaviour of water droplets when expelled from human lungs. As a contaminated droplet evaporates it becomes smaller and under conditions favourable to itself it joins the general melée of dust particles benefitting from Brownian Motion. Recently I had a meeting","PeriodicalId":46506,"journal":{"name":"Museum Management and Curatorship","volume":"38 1","pages":"114 - 116"},"PeriodicalIF":2.1,"publicationDate":"2023-03-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48876694","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-03-04DOI: 10.1080/09647775.2023.2186080
G. Chavarria
{"title":"The museums and collections of higher education","authors":"G. Chavarria","doi":"10.1080/09647775.2023.2186080","DOIUrl":"https://doi.org/10.1080/09647775.2023.2186080","url":null,"abstract":"","PeriodicalId":46506,"journal":{"name":"Museum Management and Curatorship","volume":"38 1","pages":"228 - 229"},"PeriodicalIF":2.1,"publicationDate":"2023-03-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46867645","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-03-04DOI: 10.1080/09647775.2023.2188481
S. Iervolino
ABSTRACT What are the challenges entangled with co-curatorial processes developed with highly heterogeneous, minoritised communities? Why do these exhibitions, even when co-created with community members, often emphasize community homogeneity over diversity? I address these questions by focusing on the Science Museum, London. I look back at a past project, What Makes Your Gender? (2014): a pivotal step in the Museum's treatment of gender diversity co-curated with trans young people and activists associated with Gendered Intelligence, a trans-led charity aiming to improve trans people's lives. Drawing on my exhibition analysis and ethnographic research of this co-creation project, I discuss why the heterogeneity and divisions within the curatorial team were overlooked in the co-curatorial process and final display. The discussion then shifts towards more recent debate surrounding the Museum's treatment of trans/gender people in the Who Am I? permanent gallery (2000 to present). The paper shows how inclusive curatorial projects attempting to validate minoritised communities, which are subject to discriminatory discourse in the media and wider public realm, can privilege homogenizing and easily 'consumable' representations of trans people at the expense of more accurate portrayals. It argues for greater attention to intersectionality and community diversity in curatorial projects co-created with heterogenous minoritised groups.
{"title":"Co-curating with trans people: the challenges of collaborating with heterogenous minoritised communities","authors":"S. Iervolino","doi":"10.1080/09647775.2023.2188481","DOIUrl":"https://doi.org/10.1080/09647775.2023.2188481","url":null,"abstract":"ABSTRACT What are the challenges entangled with co-curatorial processes developed with highly heterogeneous, minoritised communities? Why do these exhibitions, even when co-created with community members, often emphasize community homogeneity over diversity? I address these questions by focusing on the Science Museum, London. I look back at a past project, What Makes Your Gender? (2014): a pivotal step in the Museum's treatment of gender diversity co-curated with trans young people and activists associated with Gendered Intelligence, a trans-led charity aiming to improve trans people's lives. Drawing on my exhibition analysis and ethnographic research of this co-creation project, I discuss why the heterogeneity and divisions within the curatorial team were overlooked in the co-curatorial process and final display. The discussion then shifts towards more recent debate surrounding the Museum's treatment of trans/gender people in the Who Am I? permanent gallery (2000 to present). The paper shows how inclusive curatorial projects attempting to validate minoritised communities, which are subject to discriminatory discourse in the media and wider public realm, can privilege homogenizing and easily 'consumable' representations of trans people at the expense of more accurate portrayals. It argues for greater attention to intersectionality and community diversity in curatorial projects co-created with heterogenous minoritised groups.","PeriodicalId":46506,"journal":{"name":"Museum Management and Curatorship","volume":"38 1","pages":"117 - 140"},"PeriodicalIF":2.1,"publicationDate":"2023-03-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49009624","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-03-04DOI: 10.1080/09647775.2023.2196192
James M. Bradburne
{"title":"Editorial","authors":"James M. Bradburne","doi":"10.1080/09647775.2023.2196192","DOIUrl":"https://doi.org/10.1080/09647775.2023.2196192","url":null,"abstract":"","PeriodicalId":46506,"journal":{"name":"Museum Management and Curatorship","volume":"38 1","pages":"113 - 113"},"PeriodicalIF":2.1,"publicationDate":"2023-03-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44927441","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-18DOI: 10.1080/09647775.2022.2158914
Sibylle Moser
ABSTRACT Based on a systematic data base search this paper provides a comprehensive survey of empirical research on garden visitor experiences, arguing that prevalent studies in garden tourism, psychology and education shed little light on the esthetic experience of gardens as cultural artifacts. Gibson’s transdisciplinary concept of ‘affordance’ is therefore used to reinterpret findings from the social sciences in light of landscape design and cultural analysis. The paper addresses how horticultural designs afford visitors to move through landscapes, to perceive and sense plant displays and to create meaning through bodily engagement. It furthermore shows, how media technologies such as mobile guides afford visitors to engage the garden through their specific material and operational design. As a result, the paper introduces a transdisciplinary model of the garden visitor experience that integrates bodily perception and conceptual understanding. Accordingly, the deliberate design of interpretative media is identified as a key agenda for visitor engagement.
{"title":"The garden visitor experience","authors":"Sibylle Moser","doi":"10.1080/09647775.2022.2158914","DOIUrl":"https://doi.org/10.1080/09647775.2022.2158914","url":null,"abstract":"ABSTRACT Based on a systematic data base search this paper provides a comprehensive survey of empirical research on garden visitor experiences, arguing that prevalent studies in garden tourism, psychology and education shed little light on the esthetic experience of gardens as cultural artifacts. Gibson’s transdisciplinary concept of ‘affordance’ is therefore used to reinterpret findings from the social sciences in light of landscape design and cultural analysis. The paper addresses how horticultural designs afford visitors to move through landscapes, to perceive and sense plant displays and to create meaning through bodily engagement. It furthermore shows, how media technologies such as mobile guides afford visitors to engage the garden through their specific material and operational design. As a result, the paper introduces a transdisciplinary model of the garden visitor experience that integrates bodily perception and conceptual understanding. Accordingly, the deliberate design of interpretative media is identified as a key agenda for visitor engagement.","PeriodicalId":46506,"journal":{"name":"Museum Management and Curatorship","volume":" ","pages":""},"PeriodicalIF":2.1,"publicationDate":"2023-01-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48787564","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-02DOI: 10.1080/09647775.2023.2162269
M. Schwarzer
{"title":"Why the museum matters","authors":"M. Schwarzer","doi":"10.1080/09647775.2023.2162269","DOIUrl":"https://doi.org/10.1080/09647775.2023.2162269","url":null,"abstract":"","PeriodicalId":46506,"journal":{"name":"Museum Management and Curatorship","volume":"38 1","pages":"110 - 112"},"PeriodicalIF":2.1,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41849107","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-12-28DOI: 10.1080/09647775.2022.2158913
Hongxing Cao, Huadan Zhang, Xuechun Wang
{"title":"What is the gap between curator’s plan and visitors’ perception of the palace museum?","authors":"Hongxing Cao, Huadan Zhang, Xuechun Wang","doi":"10.1080/09647775.2022.2158913","DOIUrl":"https://doi.org/10.1080/09647775.2022.2158913","url":null,"abstract":"","PeriodicalId":46506,"journal":{"name":"Museum Management and Curatorship","volume":" ","pages":""},"PeriodicalIF":2.1,"publicationDate":"2022-12-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41606836","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-12-28DOI: 10.1080/09647775.2022.2158912
Lan Long, J. M. Cano Sanchiz
{"title":"Industrial museums with Chinese characteristics: theories and practices","authors":"Lan Long, J. M. Cano Sanchiz","doi":"10.1080/09647775.2022.2158912","DOIUrl":"https://doi.org/10.1080/09647775.2022.2158912","url":null,"abstract":"","PeriodicalId":46506,"journal":{"name":"Museum Management and Curatorship","volume":" ","pages":""},"PeriodicalIF":2.1,"publicationDate":"2022-12-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46408215","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-12-28DOI: 10.1080/09647775.2022.2158908
Giuseppina Addo, P. Pruulmann-Vengerfeldt
ABSTRACT As museums face conflicting demands on maintaining and caring for their collections, opening for visitor engagement, and being more inclusive in their practice, new approaches are needed to museum work. This article introduces a democratic and inclusive approach focusing on the relational properties of the artefact – the Method of the Thing (Tigenes Metode). We use interviews with different museum professionals in Sweden. The method allows knowledge to emerge from the convergence of different actors within and outside the museum who negotiate their expertise, (professional) roles and technical infrastructure of the museum by foregrounding the object rather than the curators’ story. We use the encoding/decoding model to discuss the strengths and weaknesses of the method where centring the object allows for a process of democratisation and polyvocality to take shape, thus allowing divergent narratives to emerge.
{"title":"Encoding object-oriented democracy in Swedish museums: implementing method of the thing in exhibition-making","authors":"Giuseppina Addo, P. Pruulmann-Vengerfeldt","doi":"10.1080/09647775.2022.2158908","DOIUrl":"https://doi.org/10.1080/09647775.2022.2158908","url":null,"abstract":"ABSTRACT As museums face conflicting demands on maintaining and caring for their collections, opening for visitor engagement, and being more inclusive in their practice, new approaches are needed to museum work. This article introduces a democratic and inclusive approach focusing on the relational properties of the artefact – the Method of the Thing (Tigenes Metode). We use interviews with different museum professionals in Sweden. The method allows knowledge to emerge from the convergence of different actors within and outside the museum who negotiate their expertise, (professional) roles and technical infrastructure of the museum by foregrounding the object rather than the curators’ story. We use the encoding/decoding model to discuss the strengths and weaknesses of the method where centring the object allows for a process of democratisation and polyvocality to take shape, thus allowing divergent narratives to emerge.","PeriodicalId":46506,"journal":{"name":"Museum Management and Curatorship","volume":"38 1","pages":"76 - 91"},"PeriodicalIF":2.1,"publicationDate":"2022-12-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48910969","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-12-21DOI: 10.1080/09647775.2022.2158909
Siyi Wang, Xinyi Wu
ABSTRACT Revolutionary exhibitions are unique cultural resources in China, part of a ‘red’ narrative that centers the Communist Party in the country’s liberation and development. They contribute substantially to the creation of a shared national identity, yet current revolutionary exhibitions in China show too much homogenization and too little narrative innovation. Organized and curated primarily on a mechanical manner, they often lack the persuasive force needed to promote a red narrative in the twenty-first century. Through in-depth interviews with visitors at the Shanghai Sihang Warehouse Battle Memorial, this article explores how revolutionary exhibitions can tell red stories in a way that engages the public, especially younger generations. This study addresses a critical question: How can exhibitions establish and maintain connections between a country’s revolutionary history, which is based on self-sacrifice, and a globalized market economy, which is driven by self-interest?
{"title":"Revolutionary exhibition and youth identity: a visitor study of the Shanghai Sihang warehouse battle memorial","authors":"Siyi Wang, Xinyi Wu","doi":"10.1080/09647775.2022.2158909","DOIUrl":"https://doi.org/10.1080/09647775.2022.2158909","url":null,"abstract":"ABSTRACT Revolutionary exhibitions are unique cultural resources in China, part of a ‘red’ narrative that centers the Communist Party in the country’s liberation and development. They contribute substantially to the creation of a shared national identity, yet current revolutionary exhibitions in China show too much homogenization and too little narrative innovation. Organized and curated primarily on a mechanical manner, they often lack the persuasive force needed to promote a red narrative in the twenty-first century. Through in-depth interviews with visitors at the Shanghai Sihang Warehouse Battle Memorial, this article explores how revolutionary exhibitions can tell red stories in a way that engages the public, especially younger generations. This study addresses a critical question: How can exhibitions establish and maintain connections between a country’s revolutionary history, which is based on self-sacrifice, and a globalized market economy, which is driven by self-interest?","PeriodicalId":46506,"journal":{"name":"Museum Management and Curatorship","volume":"38 1","pages":"293 - 316"},"PeriodicalIF":2.1,"publicationDate":"2022-12-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49240584","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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