ROMA AHMH 320 Subject: Art History, History Credits: 3 Semester/Term: ☒ Semester ☐ J-Term ☐ Summer

Home , Capitoline Museums, Piazza Venezia

Course Title: Museum Practices in Rome: The History of Collecting and Exhibiting Works of Art Course Code: ROMA AHMH 320 Subject: Art History, History Credits: 3 Semester/Term: ☒ Semester ☐ J-Term ☐ Summer

Course Collecting is one of the most common attitudes of human nature. However, Description: what happens when the individual instinct of collecting materials gains an institutional aspect and becomes part of a public exhibition? The course focuses on the history of collecting and the conservation of cultural heritage, on collecting itself as a process, and on the nature of collections as part of our effort to construct an intelligible worldview. From the attitude of the private collector to the birth of the public museums, the topics will be analyzed in relation to anthropological, social, historical and artistic context. Due to its extremely diverse panorama of galleries, public collections and temporary exhibitions, Rome makes a perfect case study for analyzing museum work. Through lectures, class discussions, fieldtrips and visits, readings, films and individual research projects, students will have the opportunity not only to explore Rome’s cultural life but also to see the issue of collecting both as an anthropological question and as a very topical matter of national identity. Course Required Text Requirements: A compilation of scholarly articles to read per week is given to students in week 1. Students are required to do their readings before each class session in order to be prepared and participate in class discussions.

Assignments Course Requirements Percentages

1. Midterm Exam 20%

2. Final Exam 30% 3. Independent Research Project 40% 4. Class Participation 10% Total 100%

Tests and Papers Mid-term Exam, Final Exam, Oral Presentation of the Research Project and Research Report.

Independent research project: “A Virtual Museum” You are required to develop a proposal for an exhibition based on a collection and present it to an audience. Your project should be accompanied with textual explanations, diagrams of the layout of the exhibit, photocopies of the pieces you will exhibit and where they go in the exhibition. Your exhibition should address the following questions: Why is this exhibition important? Have there been other streating this material? What social, political and economic realities underwrite your exhibition script? What ethical issues are involved? Where will the exhibit be held? (In an existing museum? In a new facility? In the U.S. or abroad? Or should it be a virtual exhibition on the internet). How, if you choose to do so, can you make use of existing sites on the internet and their publicity to make your point? Which internet sites are “safe” to use to promote heritage? The research project is divided into two phases; a) Phase One (15% of the total research project grade) Phase One should include a tentative research statement, a brief description of your exhibition, a basic analysis of your chosen exhibition theme along with a basic bibliography and any illustrations that might be used for your final exhibition. Minimum limit 800 words, 2.0 spacing, Times New Roman font. b) Phase Two (25% of the total research project grade) Phase Two should include your definitive research statement, your research analysis, a full explanation of your exhibition along with the tools and materials you will be using to organize and set up your exhibition. Your final paper should answer some of the questions presented above and should demonstrate critical thinking. Minimum limit 1500 words, 2.0 spacing, Times New Roman font.

Assessment Components a) Mid-term and Final Exam will test students’ ability to analyze material and theories presented during the course through short answers and essay questions. b) An individual research project on a topic directly relevant to the course, chosen by the student, will assess their ability to collect appropriate primary and secondary materials and analyze and present them in an original way, contextualized within the information discussed throughout the course. c) Student’s participation will be assessed based on the analytical quality of the comments and questions they contribute to the class,

their engagement with reading assignments and lecture information and their willingness to share these with the group.

Guest Speakers A series of guest speakers will visit the course.

Learning The overall goal of the course is to define the nature, development, structure Outcomes and/or and organization of museums. Students will acquire a good knowledge of the Expected Student main international museum organizations and will be able to critically assess Competencies and the nature of the museum audience and its needs. The course is based on Assessment Rome museums in order for students to learn to analyze the changing Measures: political and social contexts that influence the nature and structure of museums and how museum exhibitions influence contemporary society. Students will be asked to engage in a variety of learning activities that are designed to help each achieve the goals of the course.

On completion of the course, students should be able to:

Course Requirement that will be Learning Outcomes used to assess the student’s achievement of this outcome Engage in critical discourse around Class Participation questions as the anthropological basis of collecting, the perception of a collection and the bias between a private collection and a public museum Observe museum and gallery Class Participation activities while examining larger aspects of these institutions Give a synopsis of the history of Class Participation and Exams collecting and institutional practices and articulate the standard tenets of museum ethics Assess the impact of business Class participation, Exams, and entrepreneurship and the tourism Independent Research Project industry on the structure of museums and collecting Assess collection processes from Exams antiquity to the present, specifically patronage.

Analyze the attitude of the Italians Exams and Class Participation. towards their cultural heritage and heritage institutions

Course Outline: Session Topic Session 1 Introduction to the course: • The Art of Collecting • History and philosophy of Museums Readings: Sophie Forgan, Building the Museum: Knowledge, Conflict, and the Power of Place, Isis, Vol. 96, No. 4 (December 2005), pp. 572-585 Andrew L. Christenson, The Role of Museums in Cultural Resource Management, American Antiquity, Vol. 44, No. 1 (Jan., 1979), pp. 161-163 Greenhill-Hooper, Eilean, What is a museum? In Museums and the Shaping of Knowledge, Routledge, 1992, pp. 1-22 Session 2 Collecting cultural heritage; • “Collecting: shaping the world” • Naturalia & Artificialia: “curiositycabinets” and scientific collections inearly modern Europe • Types of museums; anthropological, science, open air and site Readings: Blythe Bowman Proulx, Archaeological Site Looting in "Glocal" Perspective: Nature, Scope, and Frequency, American Journal of Archaeology, Vol. 117, No. 1 (January 2013), pp. 111-125 Kynourgiopoulou, Vicky, National Identity Interrupted: The Mutilation of the Parthenon Marbles and the Greek Claim for Repatriation, in Contested Cultural Heritage: Religion, Nationalism, Erasure, and Exclusion in a Global World, Springer Editions, 2011 Field study to Pompeii and Naples Archaeological Museum Colin Trodd, The discipline of pleasure; or, how art history looks at the art museum, Museum and Society 1

2003, (1): 17-29 Session 3 Roman Forum/ Imperial Fora On site • Antiquities as economic status • Archaeological Parks Via dei Fori Imperiali entrance (Bus 23 to Piramide metro station, change tobus 60 for Piazza Venezia) Meeting Point: In front of the entrance Reading: James E. Packer, Report from Rome: The Imperial Fora, a Retrospective, American Journal of Archaeology, Vol. 101, No. 2 (Apr., 1997), pp. 307-330 Session 4 Collections Care: Collection management: legal and ethical issues from antiquity to the present • “Who does the past belong to?

Reading: Monica L. Udvardy, Linda L. Giles and Hohn B. Mitsanze, The transatlantic trade in African ancestors, in American Anthropologist 2003, 105 (3): 566-580 Coombes, Annie, Museums and The Formation of National and Cultural Identities, in Museum Studies 2012 (2): 260-272 Session 5 The Vatican Museums • Curatorial Praxis • Repatriation Viale Vaticano Meeting point: in front of the entrance (Bus 23 to Piramide metro station. Take Metro Line B to Termini station change to Metro Line A, Direction Battistini, Stations: Ottaviano-S. Pietro-Musei Vaticani)

Readings: Carlo Pietrangeli; Peter Spring, The Vatican Museums, Review by: Giles Waterfield The Burlington Magazine, Vol. 136, No. 1101 (Dec., 1994), p. 854 Dana, John, Cotton. The Museum as an Art Patron, in Museum Studies 2012 (2): 421- 424

Session 6 Galleria Nazionale d’Arte Moderna (GNAM) The Enlightenment • Learning and interpretation; the “visitor” experience • “Exhibitions and interpretation. Museum pedagogy and cultural change” • Phase One of Research Paper due

Readings: Malcolm Foley and Gayle McPherson, Museums as leisure in International Journal of Heritage Studies 2000, 6 (2): 161-174 Meeting Point: in front of the entrance Viale delle Belle Arti, 131 (Bus 23 to Piramide metro station. Metro B (Rebibia) to Policlinico. Change to tram line 3 (Thorvaldsen) to Galleria Arte Moderna or tram line 19 (Risorgimento/S. Pietro) to Galleria Arte Moderna)

Session 7 Midterm Exam Session 8 The Capitoline Museums On-site Meeting Point: In front of the equestrian statue in the middle of the square Piazza del Campidoglio 1(Bus 23 to Piramide metro station, change to bus 60 for Piazza Venezia)

Readings: Elizabeth Fentress, Museum Review: Around the Temple: The New Galleries of the Capitoline Museum, American Journal of Archaeology, Vol. 111, No. 2 (Apr., 2007), pp. 365-369 Anthony M. Clark, The Development of the Collections and Museums of 18th Century Rome, Art Journal, Vol. 26, No. 2 (Winter, 1966-1967), pp. 136-143 Session 9 Contemporary Art Museums On-site • Sustainable practices in museum design • MAXXI MAXXI Museo nazionale delle arti del XXI secolo /National Museum of the Arts in the 21st Century, via Guido Reni, 4 A (Metro Line A, stop Flaminio - Tram Line 2, stop “Apollodoro”

Buses 53, 217, 280, 910) Meeting point: in front of the entrance

Readings: Therese Tierney, Formulating Abstraction: Conceptual Art and the Architectural Object. Leonardo, Vol. 40, No. 1 (2007), pp. 51-57, 43; Charlotte Benton, 'An Insult to Everything the Museum Stands for' or 'Ariadne's Thread' to 'Knowledge' and 'Inspiration'? Daniel Libeskind's Extension for the V &A and Its Context. Part II, Journal of Design History, Vol. 10, No. 3 (1997), pp. 309-328 Session 10 The small private museum: Visit to Museum Andersen On-site Museo Hendrik Christian Andersen Via Pasquale Stanislao Mancini 18 (Bus 23 to Piramide metro station. Metro B to Termini change to Metro A (Battistini) to Flaminio) Meeting point: in front of the entrance

Reading: Gladys E. Hamlin, European Art Collections and the War, College Art Journal, Vol. 4, No. 3 (Mar., 1945), pp. 155- 163 Session 11 Conservation Ethics in modern museums On-site • MACRO Nomentana (Via Nizza 138) Meeting point: in front of the entrance

Readings: Eric Scigliano, Inglorious restorations; Destroying old masterpieces in order to save them,Harper’s Magazine August 2005: 61-68 May Cassar, Sustainable Heritage: Challenges and Strategies for the Twenty-First Century, APT Bulletin, Vol. 40, No. 1 (2009), pp. 3-11 Session 12 International Organisations and museum collections • ICCROM (International Centre for the Preservation and Restoration of Cultural Property in Rome) Via di San Michele 13 (Bus 23 to the Pyramid of Cestius. Change to bus 75 or 44 to Via di San Michele) Meeting point: in front of the entrance

Readings: JukkaJokilehto, ICCROM's Involvement in Risk Preparedness, Journal of the American Institute for Conservation, Vol. 39, No. 1, Disaster Preparedness, Response, and Recovery (Spring, 2000), pp. 173-179 Greenhill-Hooper, Eilean, A Useful Past for the Present, in Museums and the Shaping of Knowledge, Routledge, 1992: pp. 191-215 Session 13 Course exhibition/ cultural event Phase Two of Research Paper, due by 9pm

Other Policies: Expectations Professional behavior is expected of all students. This includes preparation for classes, on-time attendance at classes, attendance at all group sessions and appropriate participation in the form of attentiveness and contributions to the course. Respect for the academic process is the major guiding principle for professional behavior and extends to all communications, including e-mail.

Attendance/Participation Prompt attendance, full preparation, and active participation in class discussions are expected from every student in every class session.

Course Policies For e-mail communications, students must use their Arcadia University e-mail account. Students are responsible for any information provided by e-mail or through Intranet postings.

Plagiarism Representation of another’s work or ideas as one’s own in academic submissions is plagiarism, and is cause for disciplinary action. Cheating is actual or attempted use of resources not authorized by the instructor(s) for academic submissions. Students caught cheating in this course will receive a failing grade. Fabrication is the falsification or creation of data, research or resources to support academic submissions, and cause for disciplinary action.

Late or Missed Assignments Will not be accepted for grading.

Students with Disabilities Persons with documented disabilities requiring accommodations to meet the

expectations of this course should disclose this information while enrolling into the program, and before leaving the United States so that appropriate arrangements can be made. Prerequisites: None. Country and The course is based on Rome museums in order for students to learn to Program analyze the changing political and social contexts that influence the nature Connection: and structure of museums and how museum exhibitions influence contemporary society. At the end of the course the students will organize a cultural exhibition or event where they will demonstrate the organizational and analytical skills acquired. Due to its extremely diverse panorama of galleries, public collections and temporary exhibitions, Rome makes a perfect case study for analyzing museum work, while students will use an array of networks provided by the professor of cultural heritage and museum professionals. The course has a field study to Pompeii archaelogical site and Naples archaeological museum in order for students to critically evaluate conservation and exhibition methods while safeguarding sustainable tourism practices.