Opening the Cabinet of Curiosities Seminar Room 5
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The Image of Chemistry Presented by the Science Museum, London in the Twentieth Century: an International Perspective
The Image of Chemistry Presented by the Science Museum, London in the Twentieth Century: An International Perspective Peter Morris Abstract: How has chemistry been presented at the Science Museum, London, during the 20 th century? After an overview of the history of the Science Muse- um and its chemistry galleries, four galleries are considered in depth (1906, 1926, 1977, and 1999). The importance of the curators’ external constituency of chemists and chemical educators is emphasized. The image of chemistry at the Science Museum has concentrated on the general utility of chemistry and chemistry as a skilful craft. The presentation has been low-key rather than boosterist. A comparison is made with the chemistry galleries at the Deutsches Museum. Chemistry in the Deutsches Museum has put more emphasis on hands-on exhibits and the chemical industry. Science and technology museums have promoted chemistry in a quiet but successful way for many years, but their influence may have waned along with chemistry kits. Keywords : presentation of chemistry in museums, chemistry collections, chemistry galleries, Science Museum, Deutsches Museum . 1. Introduction Before we examine the image of chemistry that has been presented by the Science Museum during the 20th century, it is worth asking if science and technology museums have any influence on the public’s perception of chem- istry. While the impact of museums is inevitably less than, say, the mass me- dia, they do attract large audiences: the Science Museum had 1.2 million visi- tors in the 1930s, a peak of 4.2 million visitors in 1980 and 2.6 million visitors in 2004. -
Culture Without
Culture Without The Newsletter of the Illicit Antiquities Research Centre Issue 12, Spring 2003 -·r 1 .~ I l ~ The Illicit Antiquities Research Centre is a project of the Mc Donald Institute for Archaeological Research. Illicit Antiquities Research Centre he Illicit Antiquities Research Centre (IARC) was establi shed in May 1996, T under th e auspi ces of the McDonald Institute for Archaeological Research in Cambridge, England, and it commenced operations in October 1997. Its purpose is to monitor and report upon the damage caused to cultural heritage by th e interna ti onal trade in illi cit antiquities (i.e. antiquities which have been stolen or clandestinely excavated and illegally exported). The enormous increase in the vol ume of this trade over the past twenty years has caused the large-scale plundering of archaeological sites and museums around the world. The IARC wi ll raise publ ic awareness of the pro blems caused by this trade and seek appropri ate national and intern ati onal legislati on, codes of conduct and oth er conventions to pl ace restraint upon it. ClIll lIre Witholll COlllexl is publi shed tw ice-yearl y. The next issue will appea r in autum n 2003. Subsc ri pt ion detai ls are ava il ab le from: Jenny Doo le IARC McDonald Institu te fo r Archaeological Research Downing Street Cambridge CB2 3ER UK e-mail: jd244@ca m. ac. uk Front cover. Greek ivory head. possibly of Apollo. recovered in February 2003 (see p. 5). Staff: Add ress for corres pondence: Editorial Boa rd, McDonald Insti tu te for Archaeological fARC Director: Colin Ren frew ewe Research, Downing St, Cambridge , UK, CB2 3ER. -
Antiquities Were One of the Most Important Elements of the Collection That Mr
DATE: March 12, 2007 FOR IMMEDIATE RELEASE COLLECTIONS ART FROM THE ANCIENT WORLD IS INSTALLED BY THEME IN RENOVATED GALLERIES AT THE GETTY VILLA LOS ANGELES—The J. Paul Getty Museum’s permanent collection of Greek, Roman, and Etruscan antiquities will be installed at the Getty Villa in galleries that are now organized by theme for easier accessibility. These groupings of objects will shed light on different aspects of life in the ancient world: from sports to religion, family, war, theater, and more. This approach enables visitors to easily view the artworks in the context of their use in classical societies, encouraging a deeper understanding of the period. Over 1,200 objects will be on view, out of approximately 44,000 in the Getty’s antiquities collection. The works will be presented in 23 galleries, with an additional six galleries devoted to changing and loan exhibitions that will allow for the presentation of focused shows, often featuring materials on loan from other institutions. These exhibitions may also incorporate works from the special collections of the Research Library at the Getty Research Institute (GRI) and reflect the scholarly activities of the Museum, the GRI, and the Getty Conservation Institute. Other highlights of the Museum include the Family Forum, a hands-on space for families filled with fun activities that encourage shared learning and discovery; and -more- Page 2 the TimeScape Room, a permanent installation that explores time, place, and artistic style in the ancient Mediterranean through interactive exhibits. FLOOR 1 GALLERIES Terracotta and Marble Vessels Ancient artisans shaped terracotta and marble to imitate the shapes and decorative schemes of vessels fashioned from metal, including precious gold, silver, and bronze. -
Donna Yates CV Oct 2020
Donna Yates Maastricht University Faculty of Law, PO Box 616, 6200 MD Maastricht, The Netherlands Office: +31433885617 Email: [email protected] traffickingculture.org culturecrime.org stolengods.org anonymousswisscollector.com Education PhD, Archaeology, University of Cambridge, 2012 Dissertation: Archaeological Practice and Political Change: Transitions and Transformations in the Use of the Past in Nationalist, Neoliberal and Indigenous Bolivia MPhil, Archaeological Heritage and Museums, University of Cambridge, 2006 Thesis: South America on the Block: The changing face of Pre-Columbian antiquities auctions in response to international law BA, Archaeology, Boston University, 2004 Academic Appointments Maastricht University, Faculty of Law 2020– Associate Professor of Cultural Heritage Law and Criminology Department of Criminal Law and Criminology University of Glasgow, School of Social and Political Sciences 2015–2019 Senior Lecturer in Sociology (Antiquities Trafficking and Art Crime) 2012–2015 Leverhulme Early Career Fellow Affiliations Maastricht Centre for Arts and Culture, Conservation and Heritage (MACCH) Affiliated Researcher Maastricht University Law and Tech Lab Member Scottish Centre for Crime and Justice Research (SCCJR) Associate Researcher University of Glasgow, Department of Information Studies Affiliated Scholar University of Glasgow, Department of Archaeology Affiliated Scholar Research Interests • Illicit trafficking of cultural, collectable, and rare objects • Heritage and museum studies • Cultural property -
The Waddesdon Bequest Catalogue of the W. Rks F Art Bequeathed To
T HE WA DDES DO N BEQ U EST CATA LOGU E OF T HE W. R K S F A R T BEQ U EATHED TO THE BRITIS H MU S EU M E D D T D P I AN R H HIL M . BA RON F R N O SC , BY CH A R LE S H E R CU LE S R E A D K E E PE R OF T HE DE PAR T M E NT OF B R IT I S H A ND M E D IE VAL A NT IQU IT I ES AND ET H NOG R APHY LONDON PR INT E D BY OR DE R OF T H E T R U S T E E S SOLD AT T HE BRITISH MUSEUM D W A N BY LONGM A N S CO. PAT NOST R O , 39, ER ER B R D U A R ITCH r ICCA DILLY S R 1 B D O D S COV G D NA P A C0 . F T T NT A N E R Q , s, ; HE , 3, E R REE , E R E R GAN PAU L T NC T R fiB NE R CO PATE NOST HOU S E C A ING CR OS S R OA D E , RE H , R ER . H R A N D N Y F R OWDE OX F O D U N IV SITY P SS WA OU S AM N CO N HE R , R ER RE REH E, E R ER 1 90 2 [ A 11 f i g]: ts r es: f w d ] CHIS WlCK PR ESS : CHARLES WHITTING HAM A N D CO TOOK S COU R T C ANC Y LAN E LO N DON . -
Designs for Learning: Studying Science Museum Exhibits That Do More Than Entertain
Designs for Learning: Studying Science Museum Exhibits That Do More Than Entertain SUE ALLEN Exploratorium, San Francisco, CA 94123, USA Received 2 October 2003; revised 6 April 2004; accepted 7 April 2004 DOI 10.1002/sce.20016 Published online in Wiley InterScience (www.interscience.wiley.com). ABSTRACT: Science museum staff face a constructivist dilemma as they design their public spaces: the exhibits should facilitate science learning, yet they also need to support a diverse visiting public in making their own personal choices about where to attend, what to do, and how to interpret their interactions. To be effective as teaching tools, exhibits need to be highly intrinsically motivating at every step of an interaction in order to sustain involvement by an audience who views their visit primarily as a leisure activity. Given these challenges, it is vital to support the design process with a strong program of research and evaluation. I give a personal perspective on one institution’s research and evaluation work over the last decade, focusing on four areas: immediate apprehendability, physical interactivity, conceptual coherence, and diversity of learners. C 2004 Wiley Periodicals, Inc. Sci Ed 88(Suppl. 1):S17–S33, 2004 INTRODUCTION: A PERSONAL PERSPECTIVE ON A LEARNING DILEMMA In this article I present a personal perspective on a subset of museum learning environ- ments, specifically the exhibition space of hands-on science museums. This choice is based on my own experience of studying and working in such environments over the last decade at the Exploratorium, a well-known museum of “science, art, and human perception” in San Francisco. -
Winnick Family Foundation Completes $100,000 Grant to California Science Center’S Ecosystems Gallery
Winnick Family Foundation Completes $100,000 Grant to California Science Center’s Ecosystems Gallery The Foundation hopes that the interactive Ecosystems gallery will become an inspiration and model for eco-conscious urban development Los Angeles, CA - November 4, 2010 – The Winnick Family Foundation has completed a $100,000 grant to support the creation of the Ecosystems permanent exhibit gallery at the California Science Center at Exposition Park in Los Angeles. Within the new Ecosystems gallery, guests observe and explore an 188,000-gallon kelp tank teeming with marine life, a desert flash flood, and a special area dedicated to the rich urban ecology of Los Angeles. Adam Winnick, a member of the California Science Center Foundation Board of Trustees, said: “The Ecosystems gallery, which opened in March of this year, is a world-class facility for teaching children and the general public the interconnectedness of all air, water, land and life resources on this planet. We are pleased to be a part of the philanthropic community that supports this unique facility.” Stated Jeffrey Rudolph, President and Chief Executive of the California Science Center Foundation: “The early commitment of the Winnick family to help realize this new interactive gallery was key to our success in convincing others to support the Science Center’s exceptional learning experience. We have become one of the world’s leading science education venues with an astonishing 1.4 million visitors last year alone. With The Winnick Family Foundation support, we can confidently continue in our mission of stimulating curiosity and inspiring science learning among all who visit us.” Added Gary Winnick, Chairman and CEO of Pacific Capital Group: “Our hope is that the interactive Ecosystems gallery will become an inspiration and model for eco-conscious urban development.” About the Winnick Family Foundation The Winnick Family Foundation encourages project-specific programs but also selectively supports capital campaigns and unrestricted gifts to grantee organizations. -
Article Needs and Expectations of Teachers About the Science Museum of Castilla-La Mancha
SISSA – International School for Advanced Studies Journal of Science Communication ISSN 1824 – 2049 http://jcom.sissa.it/ Article Needs and expectations of teachers about the Science Museum of Castilla-La Mancha Santiago Langreo After serving the community for seven years, the Science Museum of Castilla-La Mancha (MCCM) has decided to renew itself. In this context, a survey of the needs and expectations of the people to which the museum is dedicated plays a major role for the changes planned to prove successful. Teachers are among the main users of the museum, staying at the core of all teaching-learning processes, and play a role as mediators between science and students. This paper analyses the judgements made by teachers about various types of events and teaching resources which are normally provided by science museums and, more specifically, the Science Museum of Castilla-La Mancha. Against that backdrop, science (our content), education (our objective) and the democratic participation of teachers will show a clear route to follow if one wants to achieve quality for our institution and its future events. Highlights The first three results, with values in excess of 4.40, assign great value to experimentation, including workshops and laboratories, as well as touring exhibitions, which bring scientific knowledge to farther places, and the objective of science communication and education. Only 44.6% of respondents reported knowing or having visited other science museums. Among them, only 27% know more than two museums. There is general consensus about the opportunity for museums to increase their quality by improving all their elements, events, resources, activities, etc. -
BM Tour to View
08/06/2020 Gods and Heroes The influence of the Classical World on Art in the C17th and C18th The Tour of the British Museum Room 2a the Waddesdon Bequest from Baron Ferdinand Rothschild 1898 Hercules and Achelous c 1650-1675 Austrian 1 2 Limoges enamel tazza with Judith and Holofernes in the bowl, Joseph and Potiphar’s wife on the foot and the Triumph of Neptune and Amphitrite/Venus on the stem (see next slide) attributed to Joseph Limousin c 1600-1630 Omphale by Artus Quellinus the Elder 1640-1668 Flanders 3 4 see previous slide Limoges enamel salt-cellar of piédouche type with Diana in the bowl and a Muse (with triangle), Mercury, Diana (with moon), Mars, Juno (with peacock) and Venus (with flaming heart) attributed to Joseph Limousin c 1600- 1630 (also see next slide) 5 6 1 08/06/2020 Nautilus shell cup mounted with silver with Neptune on horseback on top 1600-1650 probably made in the Netherlands 7 8 Neptune supporting a Nautilus cup dated 1741 Dresden Opal glass beaker representing the Triumph of Neptune c 1680 Bohemia 9 10 Room 2 Marble figure of a girl possibly a nymph of Artemis restored by Angellini as knucklebone player from the Garden of Sallust Rome C1st-2nd AD discovered 1764 and acquired by Charles Townley on his first Grand Tour in 1768. Townley’s collection came to the museum on his death in 1805 11 12 2 08/06/2020 Charles Townley with his collection which he opened to discerning friends and the public, in a painting by Johann Zoffany of 1782. -
Cabinet of Curiosities Ages 6 and up | 60 - 120 Min
Cabinet of Curiosities ages 6 and up | 60 - 120 min. Background: During the transatlantic slave trade, which lasted for more than 300 years, 12–15 million people were forcibly migrated from Africa to the Western Hemisphere. An estimated 1.2–2.4 million people died en route, but the complete death toll is not documented. The slave trade to the United States began in 1581 in Florida and did not conclude until 1807, though illegal trading continued for nearly 60 more years. The nations that are home to the largest populations of people of African descent are Brazil (55 million), the United States (46 million), Haiti (10 million), and the Dominican Republic (9 million). There are also significant populations in many more countries including France, Mexico, Canada, and Italy. Link to video: https://www.youtube.com/watch?v=3NXC4Q_4JVg Inspiration: This virtual tour of Folayemi Wilson’s Eliza’s Peculiar Cabinet of Curiosities. (2016) at Lynden: https://lynden.tours/folayemi-wilson-elizas-peculiar- cabinet-of-curiosities/ Vocabulary Site-specific art is artwork created to exist in a certain place. Typically, the artist takes the location into account while planning and creating the artwork. Cabinets of curiosities were early precursors of museums, increasingly popular in 16th-century Europe. Viewed as symbols of socioeconomic or scholarly status, they contained collections of natural specimens, religious relics, historic artifacts, works of art, and other objects collected during travels abroad. Afrofuturism is a literary, musical, and artistic movement that explores the contested history, diverse realities and future possibilities of people of African descent. Common themes include science fiction, magic realism, interrogating historic narratives and questioning power relationships to reimagine the past and envision a better future. -
Silver, Bells and Nautilus Shells: Royal Cabinets of Curiosity and Antiquarian Collecting
Silver, Bells and Nautilus Shells: Royal cabinets of curiosity and antiquarian collecting Kathryn Jones Curator of Decorative Arts at Royal Collection Trust, London 98 In 1812 James Wyatt, architect to the Prince Regent, was The term Wunderkammer, usually translated as a given instructions to complete the Plate Closet in Carlton ‘Cabinet of Curiosities’, encompassed far more than the House, the Prince’s residence on Pall Mall. The plans traditional piece of furniture containing unusual works of included a large proportion of plate glass. James Wyatt art and items of natural history (fig 1). The concept of a noted this glass although expensive was ‘indispensably Wunderkammer was essentially born in the 16th century necessary, as it is intended that the Plate shall be seen as the princely courts of Europe became less peripatetic and as the Plate is chiefly if not entirely ornamental, and as humanist philosophy spread. The idea was to any glass but Plate [glass] therefore would cripple the create a collection to hold the sum of man’s knowledge. forms and perhaps the most ornamental parts would This was clarified by Francis Bacon in the 17th century 2 be the most injured.’1 The Plate Closet was to be a who stated that the first principle of a ruler was to gather place of wonder, where visitors would be surrounded by together a ‘most perfect and general library’ holding great treasures of wrought silver and gilt. George IV’s every branch of knowledge then published. Secondly a collections, particularly of silver for the Wunderkammer, prince should create a spacious and wonderful garden to show an interest in an area of collecting that was largely contain plants and fauna ‘so that you may have in small unfashionable in the early-nineteenth century and compass a model of universal nature made private’. -
The Trade in Art and Antiquities
1 The Trade in Art and Antiquities JANET ULPH I Introduction 1.01 Introduction Art and antiquities can be beautiful, fascinating and highly valuable. It is unsurprising that those in possession of such objects may find that others covet them. The focus of this text is upon the law relating to cultural objects which have been stolen, looted, or illegally exported, in recent times. These objects may be secretly exported from the original countries in which they were located in order to escape detection. They may be sold on the black market abroad or, where the object is not easily identifiable, offered openly in foreign markets. London is one of the prime locations in the world where there is a legitimate and healthy trade in works of art and antiquities. Unfortunately, stolen or looted objects may masquer- ade as legitimate purchases. This text will therefore discuss the dangers posed by the illicit trade in cultural objects, the risk that profits made will be used to further other criminal activities, and the strategies which could be employed to combat this trade. This will include an explanation of how the English criminal law, including money laundering meas- ures, applies to those who deal in cultural objects in a domestic or international setting. As the illicit trade in art and antiquities is one of the most lucrative in the world, the powers of law enforcement agencies to seize these objects will be explained. Trafficking in cultural objects, because it is a global trade, is difficult to suppress; consequently the efforts made by international bodies and governments to combat it must also be considered.