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The Convergence of Policy, Practice and Difference in the Art Museum

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The Convergence of Policy, Practice and Difference in the Art Museum From Civilization to Participation: The Convergence of Policy, Practice and Difference in the Art Museum By Kimberly Frances Keith Department of Sociology Goldsmiths University of London Thesis submitted for the degree of Doctor of Philosophy (PhD) 2011 1 Declaration The certify that this thesis that I have presented for the degree of Doctor of Philosophy in the Department of Sociology at Goldsmiths, University of London is solely my own work. References to the work of others have been cited and indicated throughout. Kimberly F. Keith 2 Abstract This research examines how practitioners in the art museum engage with difference, particularly with the black subject, and the influence that policy, which is intended to promote access and inclusion, has on the process. How difference is imagined and addressed is explored through an investigation of the lived experience of museum professionals in both the United States and the United Kingdom. The research is an ethnographic study that utilizes a multidisciplinary theoretical framework, drawing from sociology, cultural studies, social and cultural history, art history, and museum studies, and its methodological approach includes in-depth interviews in Seattle, New York and London, and long-term participant observation in London. An examination of race, diversity and representation, an overview of historical accounts substantiating the development of support for the arts and culture, and an indication of arts policy in the US and UK provide a context from which to view the empirical data. The data makes visible how specific communities are imagined, how projects are developed for ‘targeted’ audiences, and it reveals how conventions in practice continue to perpetuate an air of exclusivity in institutions purportedly open to all. Contrasting and comparing the stated motivations and intentions of practitioners with observed practice illuminates the challenges inherent in transforming words into action. These challenges expose the mechanisms of essentialism, instrumentalism and exclusion that can be exerted in practice; analysis of the process illustrates the complexity of shifting the narrative and culture of the museum, a shift which denotes the evolution in learning and audience development from a civilizing, transmission approach towards a participatory, individual meaning-making approach. This research intends to enhance the understanding of the agency of museum practitioners, particularly during their engagement with difference and external policy mandates, whilst they are concurrently situated in the evolving material and discursive space of the art museum. 3 Acknowledgements It takes a village to write a doctoral thesis and, fortunately for me, my villagers have been generous with their time, wisdom and support throughout this amazing process. First, and foremost, I would like to express heartfelt gratitude to my supervisors. Bev Skeggs believed in me, more than I believed in myself at times; her attention to detail and unyielding encouragement helped me to craft a narrative that we can both be proud of. Marj Mayo consistently kept me focussed on the importance of the structural and political aspects of my research, impelling me to find new meaning in a familiar subject (museums); she listened to my hare-brained and erudite ideas, and responded with unfailingly gracious and sound advice. Michael Keith taught me to think broadly and to consider my research within the vast landscape of cultural, political and sociological theory; he helped me to become a good researcher, and a much stronger person. Boundless gratitude, mucho appreciation, and a big shout out go to the PhDorks who have travelled this path with me. Anamik Saha for convincing me that I am a sociologist; Emma Jackson for patience and wisdom; Alex Rhys-Taylor for walks and talks, oysters and beers; Steven Jones for statistics and all that gubbins; Hannah Jones for dancing, dresses, and deep discussions; Patrick Turner for long-winded explanations and hilarious accents; Fiona Peters for the love, support and understanding that only a ‘sista from anotha mista’ can give; Sireita Mullings for thought provoking conversations, tech support and delicious mint biscuits; Annette-Carina Van Der Zaag for chats and Dutch peanut butter; and Louise Owusu-Kwarteng, Gabor Valyi, Hilde Stephansen, Natscha Mueller-Hirth, Nick Denes, Vanessa Arena, Thomas Zacharias, Ben Gidley, and Will Davies for coaching and encouragement. Huge thanks to Bridget Ward for admin support, mothering and friendship. Tons of gratitude goes to Les Back and Chris Weedon for reading this thesis, and for their written and spoken words of wisdom. Thanks to Rachel Dunkley-Jones for emotional and intellectual support; to Renee Martin for life-long friendship and for monitoring the Monitor; to Paul Goodwin, my ‘brother from another mother,’ for helping me to keep my eyes on the prize; to Paul Reid for deep conversations and expanding my awareness of all things Black, with a big B; to Kelly Foster for laughs and moral support; to the V&A crew, the BCA crew, and all of my interviewees for allowing me to tell this story; to the Centre for Urban and Community Research (CUCR) and Goldsmiths Sociology Department for providing me with space to grow; to Mary Lloyd for lasting friendship and editorial advice; and to Joy Bryngelson for being my BFF – I heart you! Thanks to my uncles Willi, Mike and Poogie, and to my other parents, Sharon and Roger Wilson, for cheerleading, laughter and many good meals shared. And last, but certainly not least, I am eternally grateful and indebted to my mother, Susan Keith, for her unceasing support, confidence and faith in me; Mom, you taught me the art of possibility, and your presence, friendship and love mean the world to me. This thesis is dedicated to my Dad, my Grandma Combs, and Aaron Brisbois, who are always with me in spirit, and to my godchildren Jonas and Simone, the future you are my Padawans. 4 Table of Contents List of Abbreviations and Acronyms .......................................................................10 List of Images ......................................................................................................... 12 Introduction: From ‘Gangsters’ to the Academy: How an Adolescent Fascination Led to a Dissertation............................................................................................... 14 Questions............................................................................................................. 19 Structure............................................................................................................... 20 Chapters............................................................................................................... 21 Chapter 1: Location and Consideration: Concepts that Inform an Engagement with Policy, Practice and Difference in the Art Museum....................................... 27 Locating the Research: Museum Typology, Educational Practice and Old Notions in Contemporary Practice ..................................................................... 28 Selecting the Art Museum and Educational Practice as Locations for this Research ................... 28 Old Notions and Contemporary Thoughts on Museums ............................................................ 30 Disciplines Informing the Research: Sociology and Museum Studies .............. 33 Reciprocal Relationship between Disciplines............................................................................... 34 Defining Museum Studies and Contextualizing the Current research ......................................... 36 New Museology ........................................................................................................................ 37 An Example of Theory Informing Practice................................................................................ 40 Race, Representation and Diversifying Audiences: Imaginings Influencing Policy and Practice .............................................................................................. 45 Diversity and Difference............................................................................................................ 46 Representation .......................................................................................................................... 51 Conclusion........................................................................................................... 54 Chapter 2: Reflecting and Remarking on My Self: Acknowledging the Influence of Personal and Professional Experience in the Research ......................................... 57 Educational and Professional Background................................................................................. 59 5 Analytical Framework: Research Questions, Defining the Museum, Locations and Sites............................................................................................................... 64 Research Questions ................................................................................................................... 64 Defining the Museum ............................................................................................................... 65 Locations and Sites................................................................................................................... 66 Conducting an Ethnography............................................................................... 69 Interviews…………………………………………………………………………..69
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