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Museum Anthropology最新文献

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A city in a bunker in a city: Demilitarizing art in South Korea 城市中的地堡:韩国艺术的非军事化
IF 0.4
Museum Anthropology Pub Date : 2023-02-15 DOI: 10.1111/muan.12263
Timothy Gitzen
{"title":"A city in a bunker in a city: Demilitarizing art in South Korea","authors":"Timothy Gitzen","doi":"10.1111/muan.12263","DOIUrl":"10.1111/muan.12263","url":null,"abstract":"<p>Located mere feet from the busy Yeouido Bus Transfer Center, the Seoul Museum of Art (SeMA) Bunker is a former military bunker from 1970s authoritarian South Korea that now showcases changing art exhibits. Debuting in November 2019, <i>Paju</i> (by artist Kim Seung Rea) features a series of paintings and statues capturing life in the town of Paju in the Geyeonggi Province near the border of the Demilitarized Zone (DMZ) that separates North and South Korea. As a critique of militarization, <i>Paju</i> not only offers a glimpse into the life that blossoms amidst the guard towers, bulwarks, and barbed wire, it challenges the power dynamic implicit in the space of the bunker. Cold War ideologies overlap in SeMA Bunker, for while the bunker was purportedly designed to keep the former president, Park Chung-hee, safe during potential North Korean attack, the town of Paju was to act as human and infrastructural sacrifice to keep the rest of the country secure. Therefore, to bring Paju into the bunker via the exhibit is to inverse that power relationship and thus work to demilitarize the space, the town, and ultimately the patrons.</p>","PeriodicalId":43404,"journal":{"name":"Museum Anthropology","volume":"46 1","pages":"4-14"},"PeriodicalIF":0.4,"publicationDate":"2023-02-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://onlinelibrary.wiley.com/doi/epdf/10.1111/muan.12263","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47887359","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"OA","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Colonialism, Community, and Heritage in Native New England by Siobhan M. Hart (University Press of Florida, 2019) Siobhan M.Hart著《新英格兰原住民的殖民主义、社区和遗产》（佛罗里达大学出版社，2019）
IF 0.4
Museum Anthropology Pub Date : 2023-02-13 DOI: 10.1111/muan.12264
Diana DiPaolo Loren
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引用次数: 0
Absence and Presence in Museum Anthropology 博物馆人类学中的缺席与在场
IF 0.4
Museum Anthropology Pub Date : 2022-09-23 DOI: 10.1111/muan.12261
Hannah Turner
{"title":"Absence and Presence in Museum Anthropology","authors":"Hannah Turner","doi":"10.1111/muan.12261","DOIUrl":"10.1111/muan.12261","url":null,"abstract":"","PeriodicalId":43404,"journal":{"name":"Museum Anthropology","volume":"45 2","pages":"93-95"},"PeriodicalIF":0.4,"publicationDate":"2022-09-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44639631","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 1
THE FORENSICS EXHIBITION: Displaying Human Remains as Material Evidence of Genocide 法医展览:展示人类遗骸作为种族灭绝的物证
IF 0.4
Museum Anthropology Pub Date : 2022-09-02 DOI: 10.1111/muan.12260
Fiona Gill
{"title":"THE FORENSICS EXHIBITION: Displaying Human Remains as Material Evidence of Genocide","authors":"Fiona Gill","doi":"10.1111/muan.12260","DOIUrl":"10.1111/muan.12260","url":null,"abstract":"<p>This paper examines the role of human remains in genocide memorials and museums to evoke and narrate individual experiences of genocide. Understanding that the display of human remains is contested, I suggest that their presence in memorials and museums can play a valuable, but hitherto neglected, role in the development of individualized and evidentiary narratives of genocide. Such narratives, developed through explicit information regarding the provenance of the remains and the forensic analysis conducted, can deepen the engagement with and understanding of the victims of genocide by museum visitors. Based on the <i>Forensics Exhibition</i> in Tuol Sleng, Cambodia, I argue that explicitly displaying and explicating the remains develops a powerful evidentiary narrative complementing those developed in more familiar exhibitions. In so doing, I expand on debates regarding the liminal position of human remains as person and object, arguing that the display of such remains in a forensic and public context supports engagement with the remains as individuals. In so doing, the paper provides an opportunity to consider the management of the dead and human remains in the aftermath of mass violence and genocide, attempting to marry the emotional and social needs of the survivors with the desire for “evidence” articulated in the legal, historical, and pedagogical realms.</p>","PeriodicalId":43404,"journal":{"name":"Museum Anthropology","volume":"45 2","pages":"111-123"},"PeriodicalIF":0.4,"publicationDate":"2022-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://anthrosource.onlinelibrary.wiley.com/doi/epdf/10.1111/muan.12260","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41940745","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"OA","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Climate in Crisis: Climate in Crisis: Environmental Change in the Indigenous Americas. Exhibit at the Brooklyn Museum. brooklyn, february 14, 2020–june 20, 2021 危机中的气候危机中的气候:美洲土著的环境变化。在布鲁克林博物馆展出。布鲁克林，2020年2月14日- 2021年6月20日
IF 0.4
Museum Anthropology Pub Date : 2022-08-02 DOI: 10.1111/muan.12252
Eugenia Kisin
{"title":"Climate in Crisis: Climate in Crisis: Environmental Change in the Indigenous Americas. Exhibit at the Brooklyn Museum. brooklyn, february 14, 2020–june 20, 2021","authors":"Eugenia Kisin","doi":"10.1111/muan.12252","DOIUrl":"10.1111/muan.12252","url":null,"abstract":"","PeriodicalId":43404,"journal":{"name":"Museum Anthropology","volume":"45 2","pages":"195-197"},"PeriodicalIF":0.4,"publicationDate":"2022-08-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43718790","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
MIGRANT HERITAGE: A Dialogue of Objects and Memories in a Barcelona Ethnographic Museum 移民遗产:巴塞罗那民族志博物馆中物品与记忆的对话
IF 0.4
Museum Anthropology Pub Date : 2022-07-30 DOI: 10.1111/muan.12255
Gabriel Izard, Gemma Celigueta
{"title":"MIGRANT HERITAGE: A Dialogue of Objects and Memories in a Barcelona Ethnographic Museum","authors":"Gabriel Izard,&nbsp;Gemma Celigueta","doi":"10.1111/muan.12255","DOIUrl":"10.1111/muan.12255","url":null,"abstract":"<p>This article describes the “Dialogues with Africa” project of the Barcelona Museum of World Cultures, which consisted of workshops using personal objects of African guests residing in Catalonia, and objects from the museum's African collections. The dialogues revealed the existence of both a migrant memory connected with objects chosen for their capacity to evoke origins and a museum memory linked with artifacts that were chosen as representing distant cultures. The main aim is to describe this migrant memory in relation to the objects and analyze how it connects with the museum's institutional memory in order to contribute to the discussion of the role of ethnographic museums in a plural society. We suggest that incorporating migrant memory will make possible an opening up to new meanings for objects that have been turned into heritage from an exoticizing standpoint, and that this is in keeping with a more inclusive anthropological museology.</p>","PeriodicalId":43404,"journal":{"name":"Museum Anthropology","volume":"45 2","pages":"140-152"},"PeriodicalIF":0.4,"publicationDate":"2022-07-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://anthrosource.onlinelibrary.wiley.com/doi/epdf/10.1111/muan.12255","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44536386","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"OA","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
BLIND SPOTS IN MUSEUM ANTHROPOLOGY: Ancient Egypt in the Ethnographic Museum 博物馆人类学的盲点:民族志博物馆中的古埃及
IF 0.4
Museum Anthropology Pub Date : 2022-07-30 DOI: 10.1111/muan.12258
Alice Stevenson, Alice Williams
{"title":"BLIND SPOTS IN MUSEUM ANTHROPOLOGY: Ancient Egypt in the Ethnographic Museum","authors":"Alice Stevenson,&nbsp;Alice Williams","doi":"10.1111/muan.12258","DOIUrl":"10.1111/muan.12258","url":null,"abstract":"<p>In the past few decades, the literature in museum anthropology has advocated efforts to be more transparent about its colonial origins, address the historical injustices of imperial collecting, and rethink display narratives in collaboration with source communities. In this paper, however, we question the extent to which the epistemic and political predicaments underlying ethnographic representations are being fundamentally and systematically confronted. As we highlight with the example of ancient Egyptian material, it is apparent that significant parts of museum holdings remain freighted by unquestioned colonial and Eurocentric discourses. We employ a case study of the Egyptian material redisplayed in the “World Cultures” gallery of the Horniman Museum, London, to demonstrate how the ethnographic museum continues to unwittingly produce “silences” around collections. To redress the lacunae we provide examples of the way in which this body of material could be more meaningfully integrated within museological discourses that have informed the rethinking of other aspects of world culture.</p>","PeriodicalId":43404,"journal":{"name":"Museum Anthropology","volume":"45 2","pages":"96-110"},"PeriodicalIF":0.4,"publicationDate":"2022-07-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://anthrosource.onlinelibrary.wiley.com/doi/epdf/10.1111/muan.12258","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46274479","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"OA","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 1
THE KENTISH EOLITHS OF BENJAMIN HARRISON: Their Rise and Fall in Museum Collections and What This Tells Us about the Circumstances of Their Survival 本杰明·哈里森的肯特石器:它们在博物馆收藏中的兴衰，以及它们生存的环境
IF 0.4
Museum Anthropology Pub Date : 2022-07-30 DOI: 10.1111/muan.12257
Roy Ellen, Angela Muthana
{"title":"THE KENTISH EOLITHS OF BENJAMIN HARRISON: Their Rise and Fall in Museum Collections and What This Tells Us about the Circumstances of Their Survival","authors":"Roy Ellen,&nbsp;Angela Muthana","doi":"10.1111/muan.12257","DOIUrl":"10.1111/muan.12257","url":null,"abstract":"<p>Studies focusing on the history of collections generally emphasize what is estimable about them, but how should we make sense of collections that, once held in high regard, have subsequently been judged worthless? Such is the case for eoliths, stone objects resembling early artifacts, which held a pivotal position in arguments concerning the origins of human tool-making, but which are now largely considered nonartifactual. This article discusses the circumstances in which eolith collections were assembled, with reference to national and local museums in southeast England, but is mainly concerned with how and why, with the passing of the eolithic heyday, so many objects described as eoliths were lost, why others remain in museums, and what this tells us about curatorial practice.</p>","PeriodicalId":43404,"journal":{"name":"Museum Anthropology","volume":"45 2","pages":"180-194"},"PeriodicalIF":0.4,"publicationDate":"2022-07-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://anthrosource.onlinelibrary.wiley.com/doi/epdf/10.1111/muan.12257","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42384322","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"OA","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
IRA JACKNIS (1952–2021) 伊拉·杰克尼斯（1952-2021）
IF 0.4
Museum Anthropology Pub Date : 2022-07-30 DOI: 10.1111/muan.12256
Aaron Glass, Hadley Jensen
{"title":"IRA JACKNIS (1952–2021)","authors":"Aaron Glass,&nbsp;Hadley Jensen","doi":"10.1111/muan.12256","DOIUrl":"10.1111/muan.12256","url":null,"abstract":"","PeriodicalId":43404,"journal":{"name":"Museum Anthropology","volume":"45 2","pages":"198-204"},"PeriodicalIF":0.4,"publicationDate":"2022-07-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46517640","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
JOHN MAWURNDJUL'S ART IN PARIS John mawurndjul在巴黎的艺术
IF 0.4
Museum Anthropology Pub Date : 2022-07-30 DOI: 10.1111/muan.12254
Luke Taylor
{"title":"JOHN MAWURNDJUL'S ART IN PARIS","authors":"Luke Taylor","doi":"10.1111/muan.12254","DOIUrl":"10.1111/muan.12254","url":null,"abstract":"<div>\u0000 \u0000 <p>The Musée du Quai Branly Jacques Chirac (MQBJC) in Paris includes a commissioned ceiling mural by Australian artist John Mawurndjul. Neither the identity of the artist nor the cultural meaning of the work features strongly as part of the visitor experience for this work. Such interpretation is, in general, pushed to the margins in the museum's permanent exhibits. Paradoxically, the temporary exhibits are treated differently. The paper details how the power of John Mawurndjul's art is developed in relation to social activities on his own country as well as his cross-cultural engagements with the broader art world. Cultural meaning and strong principles of aesthetics are developed through this creativity. The paper presents these insights as interpretational possibilities for Mawurndjul's mural and questions whether an avowed museum of world arts can continue to ignore the development of a more cross-cultural definition of aesthetics and a relational approach to develop and interpret its permanent exhibits.</p>\u0000 </div>","PeriodicalId":43404,"journal":{"name":"Museum Anthropology","volume":"45 2","pages":"164-179"},"PeriodicalIF":0.4,"publicationDate":"2022-07-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48112825","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
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