Pub Date : 2023-01-02DOI: 10.1080/19369816.2023.2196653
Susannah Thompson
ABSTRACT The artist, critic and curator Cordelia Oliver (1923–2009) was an integral figure in the cultural life of Scotland from the late 1950s to her death in 2009. A graduate of the Glasgow School of Art, Oliver gave up her career as a painter to become a freelance critic and curator, a dual role which allowed a unique perspective on the production and reception of contemporary art from Scotland over five decades. Her curatorial work aimed to showcase and develop the reputation of Scottish art in a British and international context. A member of the Scottish Committee of the Arts Council of Great Britain (later the Scottish Arts Council) and a founding member of Glasgow's Third Eye Centre, Oliver curated a large number of exhibitions throughout the 1970s and 1980s which reveal an implicit yet sustained effort to foreground and champion art by women. A close associate of the gallerist Richard Demarco, she contributed to projects which introduced avant-garde, experimental and cross-disciplinary practices to the relatively staid art institutions of 1970s and ‘80s Scotland. This article focuses on Oliver's activities as a ‘maker of exhibitions’ as an artist-curator and a polymathic ‘participant observer’ of the artists she critiqued and exhibited.
{"title":"‘Maker of exhibitions’: the curatorial practice of Cordelia Oliver","authors":"Susannah Thompson","doi":"10.1080/19369816.2023.2196653","DOIUrl":"https://doi.org/10.1080/19369816.2023.2196653","url":null,"abstract":"ABSTRACT The artist, critic and curator Cordelia Oliver (1923–2009) was an integral figure in the cultural life of Scotland from the late 1950s to her death in 2009. A graduate of the Glasgow School of Art, Oliver gave up her career as a painter to become a freelance critic and curator, a dual role which allowed a unique perspective on the production and reception of contemporary art from Scotland over five decades. Her curatorial work aimed to showcase and develop the reputation of Scottish art in a British and international context. A member of the Scottish Committee of the Arts Council of Great Britain (later the Scottish Arts Council) and a founding member of Glasgow's Third Eye Centre, Oliver curated a large number of exhibitions throughout the 1970s and 1980s which reveal an implicit yet sustained effort to foreground and champion art by women. A close associate of the gallerist Richard Demarco, she contributed to projects which introduced avant-garde, experimental and cross-disciplinary practices to the relatively staid art institutions of 1970s and ‘80s Scotland. This article focuses on Oliver's activities as a ‘maker of exhibitions’ as an artist-curator and a polymathic ‘participant observer’ of the artists she critiqued and exhibited.","PeriodicalId":52057,"journal":{"name":"Museum History Journal","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48938182","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 : 2023-01-02DOI: 10.1080/19369816.2023.2193927
Laia Anguix-Vilches, Elisabetta Fabrizi, Massimiliano Papini
ABSTRACT In her research about the museum ecosystem, Jung (2011) explored the links between art galleries and the wider society they aim to serve. However, this ecosystem theory did not delve into notions of power or authority within the museum institution. Whilst scholars have investigated the nature of museums as a source of power/knowledge, there is no similar in-depth analysis of the impact of this social power on curatorial practices. This special issue aims to shed light on the often overlooked but significant power dynamics taking place within the walls of the museum, with a focus on the British art institutional context. Through a series of case studies, the contributors investigate and deconstruct the relationship between curators and their institutions in a range of periods, art forms, circumstances and locations within the UK. Together, the articles offer a critical analysis of the strategies put in place by curators within their institutional structures, shaping their interactions with artists, colleagues, critics, connoisseurs, private collectors, commercial art galleries and public funders. The contributions move away from the opposition between an artistic centre and a periphery, to instead consider the constellation of practices making up the British curatorial scene and its intersection with a globalised art world.
{"title":"Introduction - An internal ecosystem: power balance in British curatorial practice","authors":"Laia Anguix-Vilches, Elisabetta Fabrizi, Massimiliano Papini","doi":"10.1080/19369816.2023.2193927","DOIUrl":"https://doi.org/10.1080/19369816.2023.2193927","url":null,"abstract":"ABSTRACT In her research about the museum ecosystem, Jung (2011) explored the links between art galleries and the wider society they aim to serve. However, this ecosystem theory did not delve into notions of power or authority within the museum institution. Whilst scholars have investigated the nature of museums as a source of power/knowledge, there is no similar in-depth analysis of the impact of this social power on curatorial practices. This special issue aims to shed light on the often overlooked but significant power dynamics taking place within the walls of the museum, with a focus on the British art institutional context. Through a series of case studies, the contributors investigate and deconstruct the relationship between curators and their institutions in a range of periods, art forms, circumstances and locations within the UK. Together, the articles offer a critical analysis of the strategies put in place by curators within their institutional structures, shaping their interactions with artists, colleagues, critics, connoisseurs, private collectors, commercial art galleries and public funders. The contributions move away from the opposition between an artistic centre and a periphery, to instead consider the constellation of practices making up the British curatorial scene and its intersection with a globalised art world.","PeriodicalId":52057,"journal":{"name":"Museum History Journal","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45741540","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 : 2023-01-02DOI: 10.1080/19369816.2023.2196652
N. Foster
ABSTRACT It is generally assumed that anthropological artefacts are fundamentally different from art works. This article questions aspects of this distinction by exploring the role of curators in anthropological collections, with a focus on the Africa Galleries at the British Museum. It looks at the complexities faced by the curators of a controversial collection, which is contested as ‘heritage’ and the curatorial practices used to address it in the late twentieth and early twenty-first century. It explores questions such as: can curatorial work narrate the Other outside power structures? How might it narrate other cultures? And can there be collaborations across cultures without collapsing into existing power structures? Johannes Fabian has argued that ethnography has two ‘moments’: the first involves close exchange and collaboration with other communities during field trips. The second involves the construction of an unchanging temporality through which another culture becomes Other and thus excluded from change. This exclusion applies a power relationship. The article demonstrates how the curators sought to develop exhibitions which critiqued the second moment and built on the first by collaborating with living artists. In so doing the curators also questioned the status of works in anthropological collections.
{"title":"Curators as keepers and exhibition makers: The British Museum’s African Galleries","authors":"N. Foster","doi":"10.1080/19369816.2023.2196652","DOIUrl":"https://doi.org/10.1080/19369816.2023.2196652","url":null,"abstract":"ABSTRACT It is generally assumed that anthropological artefacts are fundamentally different from art works. This article questions aspects of this distinction by exploring the role of curators in anthropological collections, with a focus on the Africa Galleries at the British Museum. It looks at the complexities faced by the curators of a controversial collection, which is contested as ‘heritage’ and the curatorial practices used to address it in the late twentieth and early twenty-first century. It explores questions such as: can curatorial work narrate the Other outside power structures? How might it narrate other cultures? And can there be collaborations across cultures without collapsing into existing power structures? Johannes Fabian has argued that ethnography has two ‘moments’: the first involves close exchange and collaboration with other communities during field trips. The second involves the construction of an unchanging temporality through which another culture becomes Other and thus excluded from change. This exclusion applies a power relationship. The article demonstrates how the curators sought to develop exhibitions which critiqued the second moment and built on the first by collaborating with living artists. In so doing the curators also questioned the status of works in anthropological collections.","PeriodicalId":52057,"journal":{"name":"Museum History Journal","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48075788","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 : 2023-01-02DOI: 10.1080/19369816.2023.2197345
E. Fabrizi
ABSTRACT This article concentrates on the establishment and curation of the BFI Gallery at BFI Southbank (2007–2011), where the core, audience-facing cultural offer was extended to include contemporary artists' moving image installations. It considers the conditions that led the British Film Institute to favour commissioning over displaying, and the curatorial model of the temporary gallery commission over that of the collection-based film museum that had previously characterised the institution. The article discusses the critical and practical issues that affect the conceptualisation of the the BFI Gallery, such as the economic and political decisions of the day and the habitus of institutional management. To analyse the underlying mechanisms that triggered the changes of curatorial policies observed, consideration is given to the role of individual curators with a visual art background, who, from the early 2000s, reached the senior and executive levels of the BFI, an organisation previously led by cinema experts. The analysis uses the author's empirical experience as BFI curator to provide insight into the hidden cultural dynamics that generate the meaning of the work of art, with specific attention to curatorial moving image practices.
{"title":"Rising from the ashes of the film museum: the role of individual habitus and political-economic structures in the shaping of the British Film Institute’s curatorial strategies and the establishment of the BFI Gallery","authors":"E. Fabrizi","doi":"10.1080/19369816.2023.2197345","DOIUrl":"https://doi.org/10.1080/19369816.2023.2197345","url":null,"abstract":"ABSTRACT This article concentrates on the establishment and curation of the BFI Gallery at BFI Southbank (2007–2011), where the core, audience-facing cultural offer was extended to include contemporary artists' moving image installations. It considers the conditions that led the British Film Institute to favour commissioning over displaying, and the curatorial model of the temporary gallery commission over that of the collection-based film museum that had previously characterised the institution. The article discusses the critical and practical issues that affect the conceptualisation of the the BFI Gallery, such as the economic and political decisions of the day and the habitus of institutional management. To analyse the underlying mechanisms that triggered the changes of curatorial policies observed, consideration is given to the role of individual curators with a visual art background, who, from the early 2000s, reached the senior and executive levels of the BFI, an organisation previously led by cinema experts. The analysis uses the author's empirical experience as BFI curator to provide insight into the hidden cultural dynamics that generate the meaning of the work of art, with specific attention to curatorial moving image practices.","PeriodicalId":52057,"journal":{"name":"Museum History Journal","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43517560","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 : 2023-01-02DOI: 10.1080/19369816.2023.2196650
Stefania Portinari
ABSTRACT British artists have been a constant presence at the Venice Biennale from the very beginning in 1895, installed in the only existing pavilion alongside others international artists. In 1909, a dedicated British Pavilion was built in the Saint Elena Gardens. This paper charts the development of the British curatorial choices that have taken place at the Biennale since its outset. Rather than being a chronological history, it deals with aspects of power concerning the relationship between the authority of the British Pavilion's curatorial practices and those of the Biennale's curators and institution. The text highlights the peculiar political and managerial situation of the Venice Biennale, one that creates three levels of power confrontations. The first is between the structures of the Italian institution and those of the British Pavilion; the second is between the British government and the curators of its pavilion; and the third is between the curatorial choices taking place as part of the British Pavilion and those of other pavilions. This case study, which makes use of unpublished documents, highlights the singularities and commonalities of British curatorial practices at the Venice Biennale and offers the opportunity to reveal dialogues and tensions.
{"title":"Curatorial practices and ‘intrinsically English’ art: The British pavilion at the Venice Biennale","authors":"Stefania Portinari","doi":"10.1080/19369816.2023.2196650","DOIUrl":"https://doi.org/10.1080/19369816.2023.2196650","url":null,"abstract":"ABSTRACT British artists have been a constant presence at the Venice Biennale from the very beginning in 1895, installed in the only existing pavilion alongside others international artists. In 1909, a dedicated British Pavilion was built in the Saint Elena Gardens. This paper charts the development of the British curatorial choices that have taken place at the Biennale since its outset. Rather than being a chronological history, it deals with aspects of power concerning the relationship between the authority of the British Pavilion's curatorial practices and those of the Biennale's curators and institution. The text highlights the peculiar political and managerial situation of the Venice Biennale, one that creates three levels of power confrontations. The first is between the structures of the Italian institution and those of the British Pavilion; the second is between the British government and the curators of its pavilion; and the third is between the curatorial choices taking place as part of the British Pavilion and those of other pavilions. This case study, which makes use of unpublished documents, highlights the singularities and commonalities of British curatorial practices at the Venice Biennale and offers the opportunity to reveal dialogues and tensions.","PeriodicalId":52057,"journal":{"name":"Museum History Journal","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41945283","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 : 2023-01-02DOI: 10.1080/19369816.2023.2196654
Massimiliano Papini, Laia Anguix-Vilches
ABSTRACT In 1913, Charles Bernard Stevenson (1874 -1957), the first curator of the Laing Art Gallery in Newcastle, curated an exhibition of Japanese art, focusing on ukiyo-e prints, swords and hand guards, paintings, and ceramics. Making use of his networking skills, Stevenson obtained loans from local and national private collectors, as well as from institutions such as the Victoria and Albert Museum. His curation took advantage of the great wave of interest in all things Japanese, which led to an idealised and commodified representation of Japanese culture in late Victorian and Edwardian Britain. Stevenson also raised awareness of Japanese artistic traditions in Britain, exhibiting some of the tools that Japanese artists had employed in the production of such objects. This article examines how a provincial British curator was able to address the popularity of the idealised image of Japan, whilst defusing the mystery and exoticism associated with such a ‘romantic' vision. He was able to deconstruct part of the de-historicised idea of Japanese culture although the view of Japan as exotic ‘Other' remained. This article explores Stevenson's role in spreading a more contextualised representation of Japanese art in the Northeast of England, questioning the ‘peripheral’ connotation of British museums outside London.
1913年，纽卡斯尔莱恩美术馆的首任策展人查尔斯·伯纳德·史蒂文森(Charles Bernard Stevenson, 1874 -1957)策划了一场日本艺术展，重点展出浮世绘版画、剑和护手、绘画和陶瓷。史蒂文森利用他的社交技巧，从当地和国家私人收藏家以及维多利亚和阿尔伯特博物馆等机构获得了贷款。在维多利亚晚期和爱德华七世时代的英国，人们对日本的一切都很感兴趣，他的策展利用了这一热潮，将日本文化理想化和商品化。史蒂文森还在英国展示了日本艺术家在制作这些物品时使用的一些工具，提高了人们对日本艺术传统的认识。本文探讨了一位英国省级策展人如何能够解决日本理想化形象的流行问题，同时消除与这种“浪漫”愿景相关的神秘和异国情调。他能够解构部分去历史化的日本文化观念，尽管日本作为异域“他者”的观点仍然存在。本文探讨了史蒂文森在英国东北部传播日本艺术的过程中所扮演的角色，并对伦敦以外的英国博物馆的“外围”内涵提出了质疑。
{"title":"A Great Wave reaches Newcastle: The 1913 Japanese Art Exhibition at the Laing Art gallery","authors":"Massimiliano Papini, Laia Anguix-Vilches","doi":"10.1080/19369816.2023.2196654","DOIUrl":"https://doi.org/10.1080/19369816.2023.2196654","url":null,"abstract":"ABSTRACT In 1913, Charles Bernard Stevenson (1874 -1957), the first curator of the Laing Art Gallery in Newcastle, curated an exhibition of Japanese art, focusing on ukiyo-e prints, swords and hand guards, paintings, and ceramics. Making use of his networking skills, Stevenson obtained loans from local and national private collectors, as well as from institutions such as the Victoria and Albert Museum. His curation took advantage of the great wave of interest in all things Japanese, which led to an idealised and commodified representation of Japanese culture in late Victorian and Edwardian Britain. Stevenson also raised awareness of Japanese artistic traditions in Britain, exhibiting some of the tools that Japanese artists had employed in the production of such objects. This article examines how a provincial British curator was able to address the popularity of the idealised image of Japan, whilst defusing the mystery and exoticism associated with such a ‘romantic' vision. He was able to deconstruct part of the de-historicised idea of Japanese culture although the view of Japan as exotic ‘Other' remained. This article explores Stevenson's role in spreading a more contextualised representation of Japanese art in the Northeast of England, questioning the ‘peripheral’ connotation of British museums outside London.","PeriodicalId":52057,"journal":{"name":"Museum History Journal","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48386212","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 : 2023-01-02DOI: 10.1080/19369816.2023.2196651
Melanie Gail Stephenson
ABSTRACT In the early 1950s, Lawrence Gowing, as Professor of Fine Art, King’s College, Durham (now Newcastle University) curated significant exhibitions for the College’s Hatton Gallery. During 1951 and 1952 these included Pictures from Collections in Northumberland, and two exhibitions concerned with the display of Poussin’s series of paintings The Seven Sacraments, loaned from the National Gallery of Scotland. Pictures from Collections in Northumberland engaged Gowing with country house collections, art scholars and connoisseurs, and resulted in the reattribution and global relocations of artworks. The Poussin project similarly drew on academic expertise and involved the Hatton Gallery in what Gowing described as ‘the scene of an experiment’. Concurrently, Gowing was also formulating the idea of creating an art collection for the Hatton Gallery. In this article, these projects are described, and examined for their contribution to the art market, art scholarship, art education, and the formation of a university art collection within the structure of a higher education institution. Consideration is also given to how Gowing’s use of the Hatton Gallery may have set the scene for its use, later in the decade, for the experimental and acknowledged ground-breaking exhibition-making of Richard Hamilton and Victor Pasmore.
{"title":"‘The Hatton gallery will be the scene of an experiment’: The impact of the relationship between a university institution, its art gallery and its fine art professor","authors":"Melanie Gail Stephenson","doi":"10.1080/19369816.2023.2196651","DOIUrl":"https://doi.org/10.1080/19369816.2023.2196651","url":null,"abstract":"ABSTRACT In the early 1950s, Lawrence Gowing, as Professor of Fine Art, King’s College, Durham (now Newcastle University) curated significant exhibitions for the College’s Hatton Gallery. During 1951 and 1952 these included Pictures from Collections in Northumberland, and two exhibitions concerned with the display of Poussin’s series of paintings The Seven Sacraments, loaned from the National Gallery of Scotland. Pictures from Collections in Northumberland engaged Gowing with country house collections, art scholars and connoisseurs, and resulted in the reattribution and global relocations of artworks. The Poussin project similarly drew on academic expertise and involved the Hatton Gallery in what Gowing described as ‘the scene of an experiment’. Concurrently, Gowing was also formulating the idea of creating an art collection for the Hatton Gallery. In this article, these projects are described, and examined for their contribution to the art market, art scholarship, art education, and the formation of a university art collection within the structure of a higher education institution. Consideration is also given to how Gowing’s use of the Hatton Gallery may have set the scene for its use, later in the decade, for the experimental and acknowledged ground-breaking exhibition-making of Richard Hamilton and Victor Pasmore.","PeriodicalId":52057,"journal":{"name":"Museum History Journal","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45283445","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 : 2022-07-03DOI: 10.1080/19369816.2022.2120294
Lily Withycombe
{"title":"Te Papa to Berlin. The Making of Two Museums","authors":"Lily Withycombe","doi":"10.1080/19369816.2022.2120294","DOIUrl":"https://doi.org/10.1080/19369816.2022.2120294","url":null,"abstract":"","PeriodicalId":52057,"journal":{"name":"Museum History Journal","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43246636","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 : 2022-07-03DOI: 10.1080/19369816.2022.2118408
Philip W. Deans
{"title":"The Museum: A Short History of Crisis and Resilience","authors":"Philip W. Deans","doi":"10.1080/19369816.2022.2118408","DOIUrl":"https://doi.org/10.1080/19369816.2022.2118408","url":null,"abstract":"","PeriodicalId":52057,"journal":{"name":"Museum History Journal","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41990531","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 : 2022-07-03DOI: 10.1080/19369816.2022.2079810
Nevra Erturk
ABSTRACT The first practices in the conservation-restoration of museum collections in Turkey began in the nineteenth century with the opening of the Imperial Museum during the Ottoman Empire. Conservation-restoration work on movable cultural property gained momentum at the beginning of the Republican period from 1923 in terms of legal regulations and organisations. The number of museums increased, workshops and laboratories were established, and formal and non-formal training programmes were launched in subsequent years. In this context, our research questions are: What were the improvements in conservation-restoration work on museum collections in the Republican period? Were the scope and quality of conservation-restoration practices in state museums and private museums different from each other in the Republican period? A literature review and personal communication are used as research methods. The article gives information on the history of conservation-restoration work on museum collections; discusses the legal regulations, organisations, experts, workshops, and laboratories; and the procurement of materials and equipment. It concludes with a general evaluation of the nature and extent of conservation-restoration practices of collections in Turkish museums.
{"title":"The conservation-restoration history of museum collections in Turkey","authors":"Nevra Erturk","doi":"10.1080/19369816.2022.2079810","DOIUrl":"https://doi.org/10.1080/19369816.2022.2079810","url":null,"abstract":"ABSTRACT The first practices in the conservation-restoration of museum collections in Turkey began in the nineteenth century with the opening of the Imperial Museum during the Ottoman Empire. Conservation-restoration work on movable cultural property gained momentum at the beginning of the Republican period from 1923 in terms of legal regulations and organisations. The number of museums increased, workshops and laboratories were established, and formal and non-formal training programmes were launched in subsequent years. In this context, our research questions are: What were the improvements in conservation-restoration work on museum collections in the Republican period? Were the scope and quality of conservation-restoration practices in state museums and private museums different from each other in the Republican period? A literature review and personal communication are used as research methods. The article gives information on the history of conservation-restoration work on museum collections; discusses the legal regulations, organisations, experts, workshops, and laboratories; and the procurement of materials and equipment. It concludes with a general evaluation of the nature and extent of conservation-restoration practices of collections in Turkish museums.","PeriodicalId":52057,"journal":{"name":"Museum History Journal","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48413731","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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