Heritage and Museology
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Anthropology, Art & Museology Nicholas Thomas
Victoria University of Wellington A Critique ofA the Natural Critique Artefact of the GORDON H. BROWN LECTURE Natural Artefact: 132015 Anthropology, Art & Museology Nicholas Thomas PREVIOUS TITLES IN THIS SERIES Victoria University of Wellington A Critique of the GORDON H. BROWN LECTURE Natural Artefact: 132015 Anthropology, Art History Lecture Series 01 2003 Art History Lecture Series 08 2010 GORDON H. BROWN REX BUTLER Elements of Modernism in Colin McCahon in Australia Colin McCahon’s Early Work Art & Museology Art History Lecture Series 09 2011 Art History Lecture Series 02 2004 PAUL TAPSELL TONY GREEN The Art of Taonga Toss Woollaston: Origins and Influence Art History Lecture Series 10 2012 Nicholas Thomas Art History Lecture Series 03 2005 ROBERT LEONARD ROGER BLACKLEY Nostalgia for Intimacy A Nation’s Portraits Art History Lecture Series 11 2013 Art History Lecture Series 04 2006 ROSS GIBSON ANNIE GOLDSON Aqueous Aesthetics: An Art History of Change Memory, Landscape, Dad & Me Art History Lecture Series 12 2014 Art History Lecture Series 05 2007 DEIDRE BROWN, NGARINO ELLIS LEONARD BELL & JONATHAN MANE-WHEOKI In Transit: Questions of Home & Does Ma¯ori Art History Matter? Belonging in New Zealand Art Art History Lecture Series 06 2008 SARAH TREADWELL Rangiatea Revisited Art History Lecture Series 07 2009 MARY KISLER Displaced Legacies—European Art in New Zealand’s Public Collections Available on line at http://www.victoria.ac.nz/Art-History/down- loads/MaryKisler_lecture.pdf/ Preface Published by Art History, School of Art History, Classics This essay, the edited text of a lecture presented by Dr Nicholas Thomas, and Religious Studies addresses a key vehicle for the practice of art history: the museum. -
Anthropological Museology
Anthropological Museology ANT 3181 Section 13H8 Spring 2013 Meeting Periods: Monday, Periods 2-4 (8:30-11:30AM) Classrooms: Rinker Hall, Room 106 Instructor: Austin Bell Office: B123, Turlington Hall Phone: (605)-366-4048 Email: [email protected] Office Hours: Tuesdays (9:00AM-12:00PM) and by appointment Course Overview and Objectives This class examines the history and purpose of museums as institutions that preserve, display, and interpret cultural materials. We examine how museums developed, the role of exhibits and collections, and the changing social role of museums in modern culture. We also consider how to interpret human subjects and cultures in museum settings. Various aspects of museum practice, management, and organization are addressed. Course materials and lectures prepare students to critique and evaluate museum practice. Written assignments are an important component of the course grade (non Gordon Rule credit). Written assignments should demonstrate the integration of readings, lectures, and original thought. The four short written assignments (2 pages each) and final critique should integrate lecture, readings, as well as your museum experience. By the end of class you should understand the historical origins of museums, how museums are organized, fundamentals of collection care and curation, how exhibits are conceptualized and created, and issues facing anthropological museums and museums in general. Textbooks and Required Readings The required textbooks for the course are as follows: Burcaw, G. Ellis 1997 Introduction to -
Study Guide @Realnapoleonbonaparte
STUDY GUIDE @REALNAPOLEONBONAPARTE KEY TERMS: emperor hero republic empire meritocracy dictator NOTE-TAKING COLUMN: Complete this section during the CUE COLUMN: Complete this section video. Include definitions and key terms. after the video. Where was Napoleon born? Why is judging Napoleon complicated? At what age did Napoleon become a general? What did Napoleon accomplish? What did the Code Napoleon do that was so important? WWW.PRAGERU.COM DISCUSSION & REVIEW QUESTIONS: • Towards the beginning of the video, Professor Roberts contends that, “At the peak of his power, he [Napoleon] personally controlled more of the European continent than anyone since the great emperors of Rome. Today, most people see him as an ambitious little man with an outsized ego. Others see him as a forerunner of the great aggressor of the twentieth century, Adolph Hitler. This portrait is as flawed as it is unfair.” Why do you think that some people judge Napoleon so negatively? Why do you think that Professor Roberts characterizes an exclusively negative view of Napoleon as ‘flawed’ and ‘unfair’? Explain. • After sharing Napoleon’s early history with us, Professor Roberts points out that, “As shrewd a politician as he was a general, by the first month of the new century, at the tender age of 30, Napoleon was the undisputed leader of France. He crowned himself Emperor on December 2, 1804, turning the French Republic into the French Empire, with a Bonaparte line of succession.” What factors do you think contributed to Napoleon rising to power at such a relatively young age? Explain. Why do you think that Napoleon so drastically and fundamentally changed the way the French government worked? Do you think that Napoleon should have crowned himself an emperor? Why or why not? • Professor Roberts notes that, “To Europe, Napoleon brought the best fruits of the French Revolution: concepts of equality and meritocracy. -
Ethnographic Objects As Material Culture and As Cultural Heritage: Ethnographic Collections and Exhibits in Slovenia Until the First Half of the 20Th Century1
Nar. umjet. 47/1, 2010, pp. 6989, J. Hudales, Ethnographic Objects as Material Culture Review article Received: March 19, 2010 Accepted: April 22, 2010 UDK 069.5:39](497.4) JOE HUDALES Department of Ethnology and Cultural Anthropology, Faculty of Arts, Ljubljana ETHNOGRAPHIC OBJECTS AS MATERIAL CULTURE AND AS CULTURAL HERITAGE: ETHNOGRAPHIC COLLECTIONS AND EXHIBITS IN SLOVENIA UNTIL THE FIRST HALF OF THE 20TH CENTURY1 The article presents the development of Slovenian museum collections from their beginnings to the end of the 20th century. The main point of interest is a museum (especially ethnographic) object, which is still considered as one of cornerstones of museology. The author follows major shifts in some most important museum collec- tions; Auersperg collection, Valvasors collection in the castle Bogenperk in the 16th and 17th century, early ethnographic collections at the Regional museum of Carniola during the 19th century and the rst ethnographic collection in the rst half of the 20th century in which ethnographic exhibits were considered as cultural heritage. Key words: cultural heritage, ethnographic collections, ethnographic exhibits, his- torical museology, museum Susan Pearce, the author of famous and frequently quoted statement Objects are the heart of museums, said at the beginning of March 2010, when she was holding a lecture for the Slovenian museum workers, that she still thinks that objects and collections represent the base of museums and their cultural mission and that she rmly believes in that. She is by no means alone in her belief. Zbynek Stransky who was putting forward his de nition of museology as a new and independent academic science in the 1960s and 1970s set the issues of museum objects and their function in museology as one of the most fundamental issues dealt with in 1 This article is based on the authors book Slovenski muzeji in etnologija: Od kabinetov Āudes do muzejev 21. -
Collection Policy
COLLECTION POLICY Collecting is at the heart of the Witte Museum’s mission and must be done with clear purpose and well-articulated guidelines. The museum’s Collection Plan provides the guidelines for what the museum will collect. The Collection Policy sets forth the professional standards and responsibilities for the care and management of collections as required of an accredited museum. The Collections Department Procedures Manual covers procedures for implementing this policy. This policy should be reviewed every five years or as necessary to reflect changes in staff, strategic plan, Collection Plan, or museum practices at large. I. MISSION Statement The Witte Museum promotes lifelong learning through innovative exhibitions, programs, and collections in natural history, science, and South Texas heritage II. VISION STATEMENT Through innovative programs in history, science, and culture the Witte Museum enriches lives, promotes a quality of life for all South Texas people and generates a legacy of knowledge. III. VALUES Learning organization Collection Stewardship Quality programs and exhibitions Fiscal stability Environmental stewardship Professional ethic Welcoming environment Approved 09/20/2017 1 IV. TYPES OF COLLECTIONS The Witte Museum possesses five types of collections: Accessioned, Library, Research, Living, and Educational. The Witte shall designate at the time of acquisition the collection category to which material is assigned. The assigned category may change as the priorities and collections of the Witte evolve. Accessioned Collections Items in the Accessioned Collections shall relate directly to the Mission Statement of the Witte and shall be used solely for exhibitions, research, publications, exhibition loans, education, and Witte branding and merchandising. The documentation, care and disposition of accessioned items are governed by this policy and museum best practices. -
CURATOR CORE COMPETENCIES American Alliance of Museums Curators Committee
CURATOR CORE COMPETENCIES American Alliance of Museums Curators Committee Standing Committee on Ethics ABSTRACT Curator Core Competencies is a comprehensive statement of the domains in which curators work, the duties they perform, and the applied skills that they must all possess to be successful in today’s profession. It defines who we are, what we do, and why curators are important. 1 A Curator’s Core Competencies Introduction The role of the museum curator is rewarding, broad and challenging. This compilation of curatorial core competencies created by CurCom’s Standing Committee on Ethics addresses the skills required of curators to be successful in their profession. During the creation of this document, several sources provided valuable information regarding the skills identified by respective institutions as integral to the role of curators. The AAM, CurCom’s Code of Ethics, US Federal Government’s position classifications, US National Park Service classifications, College Art Association’s standards and guidelines, International Committee for the Training of Personnel and International Council of Museums served as references, helping to create the foundation for this document. Most important were the informal conversations with curatorial colleagues and conference sessions since the 2012 AAM annual meeting, which provided valuable insights into the demands on museum curators today, and revealed the growing need to formally study curatorial education, experience, and training, as well as to express the competencies required to practice the craft. The 2014 survey conducted by CurCom validated much of the input taken from these discussions and revealed other interesting considerations. For all the things this document is, there are several things that it is not. -
International Student Welcome Guide TABLE of CONTENTS 4Ì PRACTICAL 3Ì P52 INFORMATION P32 UNIVERSITY LIFE P54 University Calendar
2020 > 2021 International Student Welcome Guide TABLE OF CONTENTS 4ì PRACTICAL 3ì P52 INFORMATION P32 UNIVERSITY LIFE P54 University Calendar 2 P34 Organisation of Studies P58 Paris 1 Panthéon-Sorbonne ì Study Centres P10 STUDY IN PARIS P36 Becoming a Student at Paris 1 1 Panthéon-Sorbonne P60 Acronyms ì P12 Administrative Procedures > Enrolment P62 Contacts UNIVERSITÉ PARIS 1 > Visas and residence permits > Orientation week > International Relations P4 PANTHÉON-SORBONNE > Accommodation Department P40 Ressources > Health > Paris 1 Panthéon-Sorbonne P6 About the University > Banks > IT Services > Emergency Numbers > Libraries P8 Key Figures P22 Living in Paris P63 Check-lists P45 Societies and cultural activities > Budget > Working in France > Clubs and Societies > Getting Around > Cultural Activities > Going Out P48 Sports P50 Eating 1 UNIVERSITÉì PARIS 1 PANTHÉON-SORBONNE PANTHÉON-SORBONNE 1 PARIS P6 About the University P8 Key Figures RESEARCH INTERNATIONAL 1ì EXCELLENCE REPUTATION ABOUT Teaching and research are intrinsically linked Université Paris 1 Panthéon-Sorbonne is THE UNIVERSITY at Université Paris 1 Panthéon-Sorbonne. very well placed in international rankings. As with teaching, research is also structured In the 2020 QS World University Rankings PANTHÉON-SORBONNE 1 PARIS around three major disciplinary areas with by discipline the university was one of Université Paris 1 Panthéon-Sorbonne was founded in the 13th century 36 research teams and 10 doctoral schools. the best-classed in France, with seven as the Collège de la Sorbonne by Robert de Sorbon and is located in One PhD viva takes place every day at the departments placed in the top 50 for their the heart of the capital’s Latin Quarter. -
Indigenous Repatriation Handbook
Indigenous Repatriation Prepared by the Royal BC Museum and Handbook the Haida Gwaii Museum at Kay Llnagaay INDIGENOUS REPATRIATION HANDBOOK Prepared by Jisgang Nika Collison, Sdaahl K’awaas Lucy Bell and Lou-ann Neel Indigenous Repatriation Handbook Copyright © 2019 by the Royal British Columbia Museum Prepared by Jisgang Nika Collison, Sdaahl K’awaas Lucy Bell and Lou-ann Neel Published by the Royal BC Museum, 675 Belleville Street, Victoria, British Columbia, V8W 9W2, Canada. All rights reserved. No part of this book may be reproduced or transmitted in any form by any means without permission in writing from the publisher, except by a reviewer, who may quote brief passages in a review. Interior design and typesetting by Nathan Oickle and Jeff Werner Cover artwork by Dylan Thomas Cover design by Fresh Art & Design Inc. Interior artwork by Margaret Briere All photographs courtesy of the Royal BC Museum unless otherwise noted Library and Archives Canada Cataloguing in Publication Title: Indigenous repatriation handbook / prepared by Jisgang Nika Collison, Sdaahl K’awaas Lucy Bell and Lou-ann Neel. Names: Collison, Jisgang Nika, 1971- author. | Sdaahl K’awaas, Lucy Bell, 1971- author. | Neel, Lou-ann, 1963- author. | Royal British Columbia Museum, publisher. Description: Includes bibliographical references. Identifiers: Canadiana (print) 20190084634 | Canadiana (ebook) 20190085126 | ISBN 9780772673176 (softcover) | ISBN 9780772673183 (PDF) Subjects: LCSH: Indians of North America—Material culture—British Columbia—Handbooks, manuals, etc. -
30 Years After the New Museology: What's Changed?
Zeszyty Naukowe Uniwersytetu Jagiellońskiego Prace Etnograficzne 2020, 49, z. 2, s. 173–187 doi:10.4467/22999558.PE.20.014.12639 www.ejournals.eu/Prace-Etnograficzne/ Nick Merriman Horniman Museum and Gardens, London e-mail: [email protected] 30 Years after the New Museology: What’s Changed? I am currently chief executive of the Horniman Museum and Gardens in London, but in order to explore what has changed since 1989 when “The New Museology” was published, I want to go back a bit further. And please forgive me if my reflec- tions are rooted primarily in the Anglo-phone world; this has been the context in which I have worked over my career. In September 1982, after an archaeology degree at Cambridge, I went to the University of Leicester to do a one-year postgraduate course in Museum Stud- ies, something they had been offering since the mid 1960s. It was a very practical course, aimed at giving people the skills and understanding to go and work in a museum. So we did sessions on labelling objects, writing press releases, docu- mentation, practical management and so on. There was really no “theory”, except a little about communication and education, which was from a psychological back- ground. There was some quasi-philosophical thinking such as Duncan Cameron’s proposition that a museum should be a forum, not a temple (Cameron 1971), and Hugues de Varine’s writings about ecomuseums and the role of museums in soci- ety (Varine 1978). But there was pretty well no consideration of politics, ideology, representation or any kind of critical approach to museums. -
When Repatriation Doesn't Happen: Relationships Created Through Cultural Property Negotiations
University of Denver Digital Commons @ DU Electronic Theses and Dissertations Graduate Studies 2020 When Repatriation Doesn’t Happen: Relationships Created Through Cultural Property Negotiations Ellyn DeMuynck Follow this and additional works at: https://digitalcommons.du.edu/etd Part of the Museum Studies Commons, and the Social and Cultural Anthropology Commons When Repatriation Doesn’t Happen: Relationships Created Through Cultural Property Negotiations __________________ A Thesis Presented to the Faculty of the College of Arts, Humanities and Social Sciences University of Denver __________________ In Partial Fulfillment of the Requirements for the Degree Master of Arts ___________________ by Ellyn DeMuynck March 2020 Advisor: Christina Kreps Author: Ellyn DeMuynck Title: When Repatriation Doesn’t Happen: Relationships Created Through Cultural Property Negotiations Advisor: Christina Kreps Degree Date: March 2020 Abstract This thesis analyzes the discourse of repatriation in connection to the Encounters exhibition held by the National Museum of Australia in 2015. Indigenous Australian and Torres Strait Islander artifacts were loaned to the Australian museum by the British Museum. At the close of the exhibition, one item, the Gweagal shield, was claimed for repatriation. The repatriation request had not been approved at the time of this research. The Gweagal shield is a historically significant artifact for Indigenous and non- Indigenous Australians. Analysis takes into account the political economy of the two museums and situates the exhibition within the relevant museum policies. This thesis argues that, while the shield has not yet returned to Australia, the discussions about what a return would mean are part of the larger process of repatriation. It is during these discussions that the rights to material culture are negotiated. -
International Exhibitions, Expositions Universelles and World's Fairs, 1851-2005: a Bibliography
Freie Universität Berlin, Germany California State University, Fresno, USA International Exhibitions, Expositions Universelles and World’s Fairs, 1851-2005: A Bibliography by Alexander C.T. Geppert, Jean Coffey and Tammy Lau 1. Introduction _________________________________________________________ 5 2. Research Aids ______________________________________________________ 7 2.1 Research Aids General _________________________________________________7 2.2 Bibliographies ________________________________________________________8 2.3 Review Articles ______________________________________________________10 2.4 Journals and Newsletters ______________________________________________10 3. History and Theory of International Exhibitions: General Works _______________ 11 3.1 Official Exhibition Regulations ___________________________________________11 3.2 Exhibition Theory _____________________________________________________11 3.3 Exhibition History _____________________________________________________13 4. International Exhibitions, 1851-2005 ____________________________________ 28 4.1 Australia ____________________________________________________________28 4.1.0 Australia Genera l _____________________________________________28 4.1.1 International Exhibition, Sydney 1879-1880 _________________________28 4.1.2 International Exhibition, Melbourne 1880-1881 ______________________28 4.1.3 Centennial International Exhibition, Melbourne 1888-1889 _____________28 4.1.4 Expo 88, Brisbane 1988 ________________________________________28 4.2 Austria _____________________________________________________________28 -
Renouncing the Universal Museum's Imperial Past: a Call to Return The
The University of San Francisco USF Scholarship: a digital repository @ Gleeson Library | Geschke Center Master's Projects and Capstones Theses, Dissertations, Capstones and Projects Fall 12-14-2018 Renouncing the Universal Museum’s Imperial Past: A Call to Return the Rosetta Stone Through Collaborative Museology Anna Volante [email protected] Follow this and additional works at: https://repository.usfca.edu/capstone Part of the Museum Studies Commons Recommended Citation Volante, Anna, "Renouncing the Universal Museum’s Imperial Past: A Call to Return the Rosetta Stone Through Collaborative Museology" (2018). Master's Projects and Capstones. 876. https://repository.usfca.edu/capstone/876 This Project/Capstone is brought to you for free and open access by the Theses, Dissertations, Capstones and Projects at USF Scholarship: a digital repository @ Gleeson Library | Geschke Center. It has been accepted for inclusion in Master's Projects and Capstones by an authorized administrator of USF Scholarship: a digital repository @ Gleeson Library | Geschke Center. For more information, please contact [email protected]. Renouncing the Universal Museum’s Imperial Past: A Call to Return the Rosetta Stone Through Collaborative Museology Keywords : Cultural Heritage, Rosetta Stone, Rashid, Egypt, Colonialism, Imperialism, Orientalism, Repatriation, Collaborative Museology, Universal Museums, Museum Studies by Anna J. Volante Capstone project submitted in partial fulfillment of the requirements for the Degree of Master of Arts in Museum Studies Department of Art + Architecture University of San Francisco ______________________________________________________________________________ Faculty Advisor: Stephanie A. Brown ______________________________________________________________________________ Academic Director: Paula Birnbaum December 14, 2018 Abstract In colonial times, Western empires used orientalism to justify and perpetuate colonialism and imperialism over countries that they believed inferior to their own.