Diasporas of Art: History, the Tervuren Royal Museum for Central Africa, and the Politics of Memory in Belgium, 1885–2014 Author(s): Debora L. Silverman Source: The Journal of Modern History, Vol. 87, No. 3 (September 2015), pp. 615-667 Published by: The University of Chicago Press Stable URL: http://www.jstor.org/stable/10.1086/682912 . Accessed: 01/10/2015 20:48 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact
[email protected]. The University of Chicago Press is collaborating with JSTOR to digitize, preserve and extend access to The Journal of Modern History. http://www.jstor.org This content downloaded from 164.67.16.55 on Thu, 1 Oct 2015 20:48:40 PM All use subject to JSTOR Terms and Conditions Contemporary Issues in Historical Perspective Diasporas of Art: History, the Tervuren Royal Museum for Central Africa, and the Politics of Memory in Belgium, 1885–2014* Debora L. Silverman University of California, Los Angeles I. Introduction Challenges abound as contemporary museums engage the politics and culture of memory, particularly colonial memory, and ways of approaching histories of vio- lence. The South Africa Johannesburg Museum represents one end of a spectrum, with a stark, evocative new building obliging visitors to experience the spaces of apartheid.