Museums, Galleries & Heritage Careers

Total Page:16

File Type:pdf, Size:1020Kb

Museums, Galleries & Heritage Careers Museums, Galleries & Heritage Careers The heritage sector covers museums, science centres, heritage Produced with the support of the organisations, buildings, archaeology, archives and conservation. Find Museums Association. Last updated March 2021 out what your options are, how to get your foot in the door and where to look for vacancies. Opportunities in the sector Job roles: Information/library/archives – Curation – overall responsibility for a record and facilitate use of collection of artefacts or works of art. materials by the institution’s clients They acquire, research, display and Digital – engaging audiences and write about objects making collections and stories Collections – managing objects, accessible online preserving documentation, Volunteer management – cataloguing, storage, preventative organising volunteers and ensuring care, lighting, digital recording a positive experience Conservation – making sure things Partnerships - securing Types of employment: are stable, safe and in good condition sponsorships and partnerships with There is no one path into a museums or before being displayed or leant. Often a wide range of brands and heritage career. Lots of people start out in specialise in a type of object e.g. companies to support the the sector through volunteering, and some paintings or furniture organisations work continue to develop their skills and Learning – education, outreach, Science communication – making networks by volunteering even when they community events. Preparation and scientific content understandable are employed. The heritage sector has delivery of programmes, events and and accessible become increasingly dependent on resources for schools and other Research - conducting research in volunteers to maintain services, and visitors scientific, cultural, historical, or volunteers become very professional and Exhibitions – organising specific artistic fields for use in projects skilled. Volunteering provides opportunities to display particular possibilities for you to gain experience objects. Focused on project Commercial - selecting art/objects while still at university and build management, relationship building, to both enhance the essential networks. partnership working. Works alongside gallery/museum's reputation and the curator bring in money You might find work on a freelance basis Visitor operations – or visitor Development - fundraising or on a fixed term contract and, if you can manage the uncertainty of this kind of services, engaging with audiences and visitors, front of house, shop, events, Plus, enabling roles that are found in employment, these kinds of positions can lots of other industries too: be a route to a permanent full time café, duty/museum manager International position. Consultancy Heritage careers often start out very broad Policy & advocacy and then become more focused and Marketing specialised, but equally you might go the HR other way and begin in a very niche role. Facilities and estate management The kinds of skills you need in this sector Information communication can be developed in lots of other sectors, Technology so moving from, for example, a project Finance management or events role in another Management / leadership industry to a similar role in a museum isn’t unusual. So don’t be disheartened if you don’t land your dream heritage role at first – there is plenty of time! rentum nonecusania cumet et landicto. Quibust alit utem. Nam landis si sint qui con con con exces voluptint remostio. Nemporrum ut molorerciis quamus vit harum eri cum eturisciis accuptatem dolorest rehentibus, iundit exerum volorposamus saperspid excea diatibu saperrume voles ide idendellaut inis eum que pellaccum sunt officiet porerit Collection and organisation types It’s also important to consider the List of national museums in the UK: different types of organisations in this sector, all with different funding, British Museum, London structures and primary purpose: Imperial War Museum, London, Cambridge and Manchester Nationals – centrally-funded by the National Gallery, London Dept. for Culture, Media & Sport National Maritime Museum, London Local Authority Museums – remit World Museum, Liverpool driven by particular areas in UK. Local Walker Art Gallery, Liverpool councillors, elected members and Merseyside Maritime Museum, communities have a say Liverpool Independents – no national or local- Seized! The Border and Customs authority funding so more commercial uncovered, Liverpool activity like publications and paid-for International Slavery Museum, Liverpool workshops Lady Lever Art Gallery, Liverpool Regimental – funded by Ministry of Museum of Liverpool Defence. Sometimes “behind the Thinking about kinds of collections you Science Museum, London wire” in barracks want to work with can help you target Science and Industry Museum, University – aim to support learning your job hunt. You could consider: Manchester Private – privately-owned collections, National Railway Museum, York Archaeology can be owned by charities National Science and Media Museum, Agriculture Bradford Art History It’s worth noting that careers in local and National Collections Centre, Swindon Costume and textiles regional museums can be just as fulfilling, Locomotion, Shildon Decorative arts easier to get into and, importantly, are not National Portrait Gallery, London Ethnography far behind some national museums in National Army Museum, London Industrial terms of pay. National Coal Mining Museum for Natural History Other places where there are England, West Yorkshire Medical opportunities: Natural History Museum, London Military Sector Bodies – like the Museums Royal Armouries, Leeds, London and Science Association Portsmouth Social History Suppliers – e.g. collections Sir John Soane's Museum, London management systems, auction Tate, London, Liverpool and St. Ives houses, logistics specialists Victoria and Albert Museum, London Consultancies – specific to the sector Wallace Collection, London e.g. weareculture24.org.uk Q&A with Tamsin Russell from the Museums Association Q: Should I do a Masters? Or even a PhD? @TamsinRussell A: Not necessarily. Some organisations use MAs as a blunt opportunity to apply for funding from universities. It’s also a badge shortlisting tool, so will require everyone to have one simply to cut of honour to have PhD level study if you’re applying for a role where down the number of applicants. your PhD makes you a specialist in that niche. In some cases, the research skills and knowledge you develop doing an MA will be valuable (for example in some learning Q: Where should I look for vacancies? departments or when curating a collection where you have A: A key jobs website is the Leicester University Museums Jobs Desk, specialist knowledge), but in other places the practical skills you which is updated every Thursday. Lots of roles are advertised on gain from volunteering and other work experience will be more social media, the Museums Association advertise vacancies too, and highly regarded. MuseumsJobs.com is also an important site. Look at local places If you’re planning to freelance in this sector an MA can help you where you would like to work, go to their websites, follow them on define your particular unique selling points when going for Twitter, and connect with/follow key people. opportunities. It’s worth noting that there are many more people graduating with an MA in Museum Studies than there are jobs in Q: What would the most common job titles be for a new grad? the sector, so it’s certainly not a guaranteed ticket to a job. A: Assistant Curator/ Curatorial Assistant, Collections Management The same applies for PhDs. However, a PhD can be particularly Assistant, assistants on capital build /moving projects, valuable in collections-based institutions because they give an Enablers/Explainers in Learning departments, Visitor Services roles. Getting Connected Call for Curators https://callforcurators.com/ Find subject specialist networks in the fields you’re interested online and via social media, such as @museumfreelance, and the Platform for international art curators Emerging Museum Professional UK group, where you’ll find CharityJob networking opportunities, events and advice https://www.charityjob.co.uk/jobs/ arts-culture-heritage Find volunteering opportunities through the university Charity, NGO & social enterprise focused recruitment. volunteering team or through sites like do-it.org Get involved in online events to learn the language and issues Goodmoves relating to the industry, such as Twitter’s regular Museum Hour https://goodmoves.com/ and Archive Hour, plus try @AskACurator and @MuseumNext Charity and voluntary sector jobs You can join the Museums Association for £4.60 per month which will give you access to online courses, webinars and articles Artsjobsonline Other websites/social media offer job listings online, latest https://www.artsjobsonline.com/ industry news and careers advice. They include the Archives and Arts, culture and heritage jobs site. Records Association, the Association for Heritage Interpretation, the Collections Trust, Digital Culture Network, Blooloop Engage, Front of House Museums, theheritagealliance.org.uk, https://blooloop.com/ Museums Crush and the BEFS Bulletin Global attractions news, with relevant museums jobs. Set Google Alerts on keywords that interest you such as “V&A Jobs” or “Tank Museum Volunteering” and receive emails when Leicester University Museum
Recommended publications
  • Making National Museums: Comparing Institutional Arrangements, Narrative Scope and Cultural Integration (Namu)
    NaMu Making National Museums: Comparing institutional arrangements, narrative scope and cultural integration (NaMu) NaMu IV Comparing: National Museums, Territories, Nation-Building and Change Linköping University, Norrköping, Sweden 18–20 February 2008 Conference Proceedings Editors Peter Aronsson and Andreas Nyblom Financed by the European Union Marie Curie Conferences and Training Courses http://cordis.europa.eu/mariecurie-actions/ NaMu. Contract number (MSCF-CT-2006 - 046067) Copyright The publishers will keep this document online on the Internet – or its possible replacement – for a period of 25 years starting from the date of publication barring exceptional circumstances. The online availability of the document implies permanent permission for anyone to read, to download, or to print out single copies for his/her own use and to use it unchanged for non- commercial research and educational purposes. Subsequent transfers of copyright cannot revoke this permission. All other uses of the document are conditional upon the consent of the copyright owner. The publisher has taken technical and administrative measures to assure authenticity, security and accessibility. According to intellectual property law, the author has the right to be mentioned when his/her work is accessed as described above and to be protected against infringement. For additional information about Linköping University Electronic Press and its procedures for publication and for assurance of document integrity, please refer to its www home page: http://www.ep.liu.se/.
    [Show full text]
  • Architecture: the Museum As Muse Museum Education Program for Grades 6-12
    Architecture: The Museum as Muse Museum Education Program for Grades 6-12 Program Outline & Volunteer Resource Package Single Visit Program Option : 2 HOURS Contents of Resource Package Contents Page Program Development & Description 1 Learning Objectives for Students & Preparation Guidelines 2 One Page Program Outline 3 Powerpoint Presentation Overview 4 - 24 Glossary – Architectural Terms 24 - 27 Multimedia Resource Lists (Potential Research Activities) 27 - 31 Field Journal Sample 32 - 34 Glossary – Descriptive Words Program Development This programme was conceived in conjunction with the MOA Renewal project which expanded the Museum galleries, storages and research areas. The excitement that developed during this process of planning for these expanded spaces created a renewed enthusiasm for the architecture of Arthur Erickson and the landscape architecture of Cornelia Oberlander. Over three years the programme was developed with the assistance of teacher specialists, Jane Kinegal, Cambie Secondary School and Russ Timothy Evans, Tupper Secondary School. This programme was developed under the direction of Jill Baird, Curator of Education & Public Programmes, with Danielle Mackenzie, Public Programs & Education Intern 2008/09, Jennifer Robinson, Public Programs & Education Intern 2009/10, Vivienne Tutlewski, Public Programs & Education Intern 2010/2011, Katherine Power, Public Programs & Education Workstudy 2010/11, and Maureen Richardson, Education Volunteer Associate, who were all were key contributors to the research, development and implementation of the programme. Program Description Architecture: The Museum as Muse, Grades 6 - 12 MOA is internationally recognized for its collection of world arts and culture, but it is also famous for its unique architectural setting. This program includes a hands-on phenomenological (sensory) activity, an interior and exterior exploration of the museum, a stunning visual presentation on international museum architecture, and a 30 minute drawing activity where students can begin to design their own museum.
    [Show full text]
  • Museum Air. the Art of Handling Art
    lifefeb/2 0 13 magazine Museum air. The art of handling art. contents viewpoint lifefeb/2 0 13 magazine project report Museum buildings. The art of handling art. Page 4 science & technology Art pour l’art. In line with our slogan, we turn to the arts or much more, their place of collection Museum air. Page 10 The art of handling art. or assembly. For in recent decades, very impressive museum buildings have been erected: The Guggenheim Museum in Bilbao, the Tate Modern in London, the feature Acropolis Museum in Athens, the Museum Folkwang in Essen or the very recent The Da Vinci Code. National Museum of China in Beijing. Page 18 Visit with us the world‘s most beautiful, most interesting and most famous museums highlights where we offer insight into the ventilation characteristics of museum buildings. Museums. Page 24 We have also „met“ a fascinating person generally regarded as the universal genius par excellence: Leonardo da Vinci. He is the forefather of fluid dynamics as is evident highlights from his sketchbooks, which were only rediscovered in the 60s of the last century. Museological. Scientists of our time have duplicated, for example, a diving suit and a flying glider from Page 26 his sketches and proven that his technical inventions work. forum & economy And last but not least, read some news about TROX. With the acquisition of the Art at its best economically. TLT building fans, the line of ventilation systems comes full circle for TROX. We can Page 28 now offer our customers the heart of ventilation technology, the fan.
    [Show full text]
  • Open Windows 10
    Leticia de Cos Martín Martín Cos de Leticia Beckmann Beckmann Frau than Quappi, much more more much Quappi, pages 47 — 64 47 — 64 pages Clara Marcellán Marcellán Clara in California in California Kandinsky and Klee Klee and Kandinsky of Feininger, Jawlensky, Jawlensky, of Feininger, and the promotion promotion the and Galka Scheyer Galka Scheyer ‘The Blue Four’: Four’: Blue ‘The pages 34 — 46 34 — 46 pages Manzanares Manzanares Juan Ángel Lpez- Ángel Juan ~' of modern art as a collector as a collector Bornemisza’s beginnings beginnings Bornemisza’s - ~~.·;•\ Thyssen Baron On ~ .. ;,~I il~ ' r• , ~.~ ··v,,,:~ ' . -1'\~J"JJj'-': . ·'-. ·•\.·~-~ . 13 — 33 pages Nadine Engel Engel Nadine Expressionist Collection Collection Expressionist Thyssen-Bornemisza’s German German Thyssen-Bornemisza’s Beginning of Hans Heinrich Heinrich Hans of Beginning 1, 1 ~- .,.... Museum Folkwang and the the and Folkwang Museum ,..~I,.. '' i·, '' ·' ' ' .·1,.~.... Resonance Chamber. Chamber. Resonance . ~I•.,Ji'•~-., ~. pages 2 — 12 2 — 12 pages ~ -~~- . ., ,.d' .. Ali. .~ .. December 2020 2020 December 10 10 Open Windows Windows Open Open Windows 10 Resonance Chamber. Museum Folkwang and the Beginning of Hans Heinrich Thyssen-Bornemisza’s German Expressionist Collection Nadine Engel Emil Nolde Young Couple, c. 1931–35 22 HollandischerDirektor bracht ✓ Thyssen-Schatzenach Essen Elnen kaum zu bezifiernden Wert bat elne Ausslellung des Folkwang-Museums, die btszum 20. Marz gezelgt wird: sie ent­ hiilt hundertzehn Melsterwerke der europaisdlen Malerei des 14. bis 18. Jahrhunderts aus der beriihmten Sammlung Sdtlo8 Roboncz, die heute Im Besitz des nodt Jungen Barons H. H. Thys­ sen-Bornemisza ist und in der Villa Favorlta bei Lugano ihr r Domlzil hat. Insgesamt mnfafll sie 350 Arbeiten.
    [Show full text]
  • Attraction List
    ATTRACTION LIST Normal Adult FREE ENTRY WITH THE OMNIA CARD Entry Fee Sistine Chapel and Vatican Museum (skip the line) € 30.00 72-hour Hop-On Hop-Off Bus Tour € 32.00 Basilica Of St.John In The Lateran and the Cloister € 5.00 Carcer Tullianum € 10.00 Cloister of St. Paul’s Outside the Walls Basilica € 4.00 Normal Adult FREE ENTRY TO THE FIRST TWO ATTRACTIONS WITH THE ROMA PASS Entry Fee Colosseum + Roman Forum + Palatine Hill € 16.00 Castel Sant’Angelo € 15.00 Capitoline Museums € 11.50 Galleria Borghese € 13.00 FURTHER MUSEUMS / ARCHEOLOGICAL SITES ON THE ROMA PASS WITH DISCOUNTED ENTRY National Academy of Saint Luke (Free) Ancient Appian Way - Mausoleum of Cecilia Metella and the Castrum Caetani Ancient Appian Way – Baths of Caracalla Ancient Appian Way - Villa of the Quintili Rome Modern Art Gallery National Gallery of Ancient Art in Palazzo Barberini and Palazzo Corsini Spada Gallery National Gallery of Modern and Contemporary Art MACRO – Rome Contemporary Art Museum MAXXI - National Museum of 21st Century Arts Trajan’s Markets - Museum of the Imperial Forums Museums of Villa Torlonia Carlo Bilotti Orangery Museum in Villa Borghese (Free) Civic Zoology Museum Ara Pacis Museum Museum of Roman Civilization Museum of the Roman Republic and of the Garibaldian Memory (Free) Museum of the City Walls (Free) Casal de’ Pazzi Museum (Free) Rome Museum Rome Trastevere Museum Museum of Ancient Sculpture Giovanni Barracco (Free) Napoleonic Museum (Free) National Museum of Musical Instruments National Museum of Palazzo Venezia National Etruscan
    [Show full text]
  • House of Lords Official Report
    Vol. 712 Friday No. 106 10 July 2009 PARLIAMENTARY DEBATES (HANSARD) HOUSE OF LORDS OFFICIAL REPORT ORDER OF BUSINESS Arrangement of Business Announcement Co-operative and Community Benefit Societies and Credit Unions Bill Second Reading Autism Bill Second Reading Holocaust (Return of Cultural Objects) Bill Second Reading Driving Instruction (Suspension and Exemption Powers) Bill Second Reading Written Answers For column numbers see back page £3·50 Lords wishing to be supplied with these Daily Reports should give notice to this effect to the Printed Paper Office. The bound volumes also will be sent to those Peers who similarly notify their wish to receive them. No proofs of Daily Reports are provided. Corrections for the bound volume which Lords wish to suggest to the report of their speeches should be clearly indicated in a copy of the Daily Report, which, with the column numbers concerned shown on the front cover, should be sent to the Editor of Debates, House of Lords, within 14 days of the date of the Daily Report. This issue of the Official Report is also available on the Internet at www.publications.parliament.uk/pa/ld200809/ldhansrd/index/090710.html PRICES AND SUBSCRIPTION RATES DAILY PARTS Single copies: Commons, £5; Lords £3·50 Annual subscriptions: Commons, £865; Lords £525 WEEKLY HANSARD Single copies: Commons, £12; Lords £6 Annual subscriptions: Commons, £440; Lords £255 Index—Single copies: Commons, £6·80—published every three weeks Annual subscriptions: Commons, £125; Lords, £65. LORDS CUMULATIVE INDEX obtainable on standing order only. Details available on request. BOUND VOLUMES OF DEBATES are issued periodically during the session.
    [Show full text]
  • GOLDSCHMIED & CHIARI Sara Goldschmied (B. 1975, Arzignano
    GOLDSCHMIED & CHIARI Sara Goldschmied (b. 1975, Arzignano, Italy) and Eleonora Chiari (b. 1971, Rome, Italy) Live and work in Milan, Italy SOLO EXHIBITIONS 2020 International Arts & Artists at Hillyer, Washington, DC (forthcoming) 2019 Goldschmied & Chiari: Paesaggi artificiali, curated by Gaspare Luigi Marcone, Galleria Poggiali, Milan, Italy Goldschmied & Chiari, curated by Gaspare Luigi Marcone, Galleria Poggiali, Pietrasanta, Italy Goldschmied & Chiari: Eclisse, curated by Gaspare Luigi Marcone, Museo Novecento, Florence, Italy 2018 Secret Eyes Only, Doppelgaenger, Bari, Italy Fumo Negli Occhi, curated by Roberto Lacarbonara, ExChiesetta, Polignano a Mare, Italy 2017 Vice Versa, Kristen Lorello, New York, NY Untitled Views, Renata Fabbri Arte Contemporanea, Milan, Italy 2014 Goldschmied & Chiari: Untitled Portraits, Kristen Lorello, New York, NY La democrazia è illusione, curated by Ilaria Bonacossa, Villa Croce, Museum of Contemporary Art, Genova (IT) La démocratie est illusion, curated by Etienne Bernard, Centre d’Art Contemporaine Passerelle, Brest (FR) 2013 Hiding the Elephant, Edicola Notte, Rome, (IT) 2011 Nympheas, curated by Paola Ugolini and Camilla Grimaldi, Icario Arte, Montepulciano, (IT) 2010 Fumo negli occhi, Gonzalez y Gonzalez Gallery, Santiago, Chile Genealogy of Damnatio Memoriae, Atelier House, Museion Museum of contemporary art, Bolzano, (IT) 2009 Roommates, curated by Cecilia Canziani, Macro Museum of contemporary art, Rome, (IT) 2008 Dump Queen, Galerie Elaine Levy Project, Bruxelles, (BE) Dump Queen, curated
    [Show full text]
  • Beatboxing, Rap, and Spoken Word
    Learning Resource Pack Beatboxing, rap, and spoken word Creating contemporary music and lyrics inspired by culture and heritage. Contents 03 Introduction 04 Using collections and heritage to inspire contemporary artwork 06 About contemporary beatbox, rap and spoken word 08 Planning your project 14 Methods — Method 1: Creating rap lyrics — Method 2: Beatboxing techniques — Method 3: Creating spoken word and poetry 18 Casestudies — Case study 1: Welsh language with key stage 2 — Ysgol Pentraeth, National Slate Museum, Mr Phormula, and Bari Gwilliam — Case study 2: Beatboxing and rap, English language with key stage 3 — Lewis School Pengam, Big Pit and Beat Technique — Case study 3: Bilingual with key stage 3 — Tredegar Park School, Tredegar House (National Trust), and Rufus Mufasa 25 Extending the learning and facilitating curriculum learning 26 Nextsteps 26 Digital resources 27 Abouttheauthors Arts & Education Network; South East Wales 2 Beatboxing, rap, and spoken word Introduction This creative lyric and music project has The projects in this resource can be been tried and tested with schools by the simplified, adapted or further developed authors Rufus Mufasa, Beat Technique and to suit your needs. There are plenty of Mr Phormula. The project is designed to be opportunities for filmmaking, recording pupil-centred, fun, engaging, relevant and and performing, all of which help to in-line with the Welsh Government Digital develop wider creative attributes Competence Framework, while exploring including resilience, presentation skills, pupil’s individual creativity through the communication skills, and collaboration Expressive Arts Curriculum framework, and that are so important to equip learners facilitating the curriculum’s Four Purposes.
    [Show full text]
  • Making National Museums: Comparing Institutional Arrangements, Narrative Scope and Cultural Integration (Namu)
    NaMu Making National Museums: Comparing institutional arrangements, narrative scope and cultural integration (NaMu) NaMu III National Museums in a Global World Department of culture studies and oriental languages, University of Oslo, Norway, 19–21 November 2007 Conference Proceedings Editors Arne Bugge Amundsen and Andreas Nyblom Financed by the European Union Marie Curie Conferences and Training Courses http://cordis.europa.eu/mariecurie-actions/ NaMu. Contract number (MSCF-CT-2006 - 046067) Copyright The publishers will keep this document online on the Internet – or its possible replacement – from the date of publication barring exceptional circumstances. The online availability of the document implies permanent permission for anyone to read, to download, or to print out single copies for his/her own use and to use it unchanged for non- commercial research and educational purposes. Subsequent transfers of copyright cannot revoke this permission. All other uses of the document are conditional upon the consent of the copyright owner. The publisher has taken technical and administrative measures to assure authenticity, security and accessibility. According to intellectual property law, the author has the right to be mentioned when his/her work is accessed as described above and to be protected against infringement. For additional information about Linköping University Electronic Press and its procedures for publication and for assurance of document integrity, please refer to its www home page: http://www.ep.liu.se/. Linköping Electronic
    [Show full text]
  • The Government Information Landscape and Libraries
    IFLA Professional Report No.137 The Government Information Landscape and Libraries Edited by: Kay Cassell, James Church and Kathryn Tallman, with editorial assistance from Carol Church Cover Photo: Portion of the Government Documents collection held in the Reading Room at the Main Library. Photo taken on 9 September 2014 by CECrane. Attribution 2.0 Generic (CC BY 2.0). University of Illinois. Kay Cassell, Nera Kimar, Clive Tsuma, Susan Paterson, Mohammad Zuheir Bakleh, Lize Denner, Anna Mastora, Maria Koloniari, Maria Monopoli, James Church, Jungwon Yang, Anastasia A. Drozdova, Hannah Chandler, Jennie Grimshaw, Kian Flynn, Cass Hartnett, Maya Swanes, Robert Loprest, Kathryn Tallman, United Nations Cybersecurity Section, & World Bank Group ITS Office of Information Security, 2021. The Government Information Landscape and Libraries/ Edited by Kay Cassell, James Church and Kathyrn Tallman, with editorial assistance from Carol Church The Hague, IFLA Headquarters, 2021. – 161 p. (IFLA Professional Reports: 137) ISBN 978-90-77897-75-1 ISSN 0168-1931 © 2021 by IFLA. This work is licensed under the Creative Commons Attribution 4.0 International (CC BY 4.0) license. To view a copy of this license visit: https://creativecommons.org/licenses/by/4.0 IFLA P.O. Box 95312 2509 CH Den Haag Netherlands www.ifla.org 1 Introduction 3 Dr. Kay Cassell, School of Communication and Information, Rutgers University Complexity of the Government Information Landscape in Sub-Saharan Africa 7 Nerisa Kamar, Information Africa Organization, Kenya, & Dr. Clive Tsuma,
    [Show full text]
  • National Museums in Poland Kazimierz Mazan
    Building National Museums in Europe 1750-2010. Conference proceedings from EuNaMus, European National Museums: Identity Politics, the Uses of the Past and the European Citizen, Bologna 28-30 April 2011. Peter Aronsson & Gabriella Elgenius (eds) EuNaMus Report No 1. Published by Linköping University Electronic Press: http://www.ep.liu.se/ecp_home/index.en.aspx?issue=064 © The Author. National Museums in Poland Kazimierz Mazan Summary The patterns that museums in Poland, and other European countries, developed bear many similarities, however, in Poland's case, the main determining factor appears to be the political situation in Eastern Europe. The author shall present the history of museum evolution, in relation to nation-state-generative processes, using a four-stage periodic division: the Partitions (1795-1918), restored independence (1918-1939), realsocializmus (1945-1989), and the new democracy (1989-2010). The first initiatives in favour of creating museums appeared in the first period, following the annexation of Polish territories by Russia, Prussia, and Austria, and were predominantly of grassroots character. The driving force behind them consisted mainly of private collectors or associations thereof. The first museum conceived as ‘national’ in the sense of public, and full accessibility (not in the sense of state ownership), was instituted in Krakow by the local municipal authorities, as the National Museum in Krakow. It was the first case in a mass of private collections and museums that had hitherto dominated the landscape. The second period – of regained national independence – spanning the time between the two world wars, was marked mostly by the influence exerted by newly-founded, central state agencies, aiming at steering museums towards a more nationalistic path: propagating petrifying the ‘Polish spirit’ in Polish territories which continued to be inhabited by a multitude of diverse nationalities.
    [Show full text]
  • National Museums in Spain: a History of Crown, Church and People José María Lanzarote Guiral
    Building National Museums in Europe 1750-2010. Conference proceedings from EuNaMus, European National Museums: Identity Politics, the Uses of the Past and the European Citizen, Bologna 28-30 April 2011. Peter Aronsson & Gabriella Elgenius (eds) EuNaMus Report No 1. Published by Linköping University Electronic Press: http://www.ep.liu.se/ecp_home/index.en.aspx?issue=064 © The Author. National Museums in Spain: A History of Crown, Church and People José María Lanzarote Guiral Summary The present report provides an overview on the history of national museums in Spain as well as an analysis of a selected set of case studies. In the first part of this report, a historical outline of the creation and evolution of museums is provided from the point of view of the enlarging scope of the concept ‘national heritage’. The choice of national museums in the second part exemplifies the role played by different categories of heritage in the construction of national master narrative in Spain, including fine arts (Museo del Prado), archaeology (Museo Arqueológico Nacional) and nature (Museo Nacional de Ciencias Naturales). The study of the Museum of the Americas (Museo de América) allows for the exploration of the complex relationship between Spanish national identity and the imperial past, whereas the Museum of History of Catalonia (Museu d’Història de Catalunya) leads reflection to the competing nationalist projects within the state. Finally, the case of the Museum of the Spanish Army (Museo del Ejército Español) is considered in the light of the contemporary debates on ‘historical memory’ that have marked its recent renovation. 847 Summary table, Spain Name Inaugurated Initiated Actors Ownership Type Values Temporal reach Style Location Prado Museum 1819 1819 Crown, Royal (1819-68) Fine Arts Spanish and Classical to Originally purpose-built Museo Nacional del Spanish state State (1868-) (painting and universal Neoclassical for Museum of Natural Prado sculpture) (sculpture) Sciences Middle Ages to (1785-1819), beginning 19th c.
    [Show full text]