Museum History Journal最新文献

{"title":"The Palmach Museum in Tel-Aviv: The Past as a Space of Education, Entertainment, and Discipline","authors":"A. Ben-Amos","doi":"10.1179/1936981615Z.00000000047","DOIUrl":"https://doi.org/10.1179/1936981615Z.00000000047","url":null,"abstract":"Abstract In the late twentieth century, numerous history museums abandoned the use of objects and created, instead, simulated environments that emphasized visitors’ experience and emotional engagement with the past in a manner known as ‘edutainment’. While these new museums were hailed as pedagogical institutions that encouraged diversity and critical thinking, not enough attention was given to their potential to become instruments of power, telling a one-dimensional narrative. This article is about the genesis of one such museum and its permanent exhibition: the Palmach Museum in Tel-Aviv, inaugurated in 2000, and devoted to the history of the eponymous Jewish paramilitary organization that was active between 1941–48. The museum was initiated by Labor movement-affiliated Palmach veterans and became an official museum of the Israeli Ministry of Defense. The museum depicts the history of the Palmach by means of scenery and film which together, by controlling visitors’ locomotion, constitute total experience.","PeriodicalId":52057,"journal":{"name":"Museum History Journal","volume":"8 1","pages":"147 - 167"},"PeriodicalIF":0.2,"publicationDate":"2015-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1179/1936981615Z.00000000047","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"65774667","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}

{"title":"The ‘Chicago Idea’: Patronage, Authority, and Scientific Autonomy at the Field Columbian Museum, 1893–97","authors":"P. Brinkman","doi":"10.1179/1936981615Z.00000000048","DOIUrl":"https://doi.org/10.1179/1936981615Z.00000000048","url":null,"abstract":"Abstract The ‘Chicago idea’, as anthropologist William Henry Holmes defined it, was that a businessman was uniquely qualified to conduct the business of a museum. Chicago philanthropists and businessmen embraced this idea when they appointed Frederick J. V. Skiff, a former world's fair administrator with no scientific training and no museum experience, to be director of the new Field Columbian Museum. Skiff's appointment was somewhat controversial in the scientific community. In 1895, only two years after the museum was first established, the outspoken paleontologist Edward Drinker Cope sharply criticized Skiff's style of management in American Naturalist. By 1897, Skiff's scientific staff was in open rebellion, charging the director with incompetence and worse. The difficulties of Skiff's early tenure as museum director are examined here, with special emphasis on his troubled relationships with the curatorial staff. An examination of the ‘Chicago idea’ — as embodied by Skiff — provides an insight into the tension between wealthy patrons, their hand-picked directors, and curators in America's Gilded Age museums.","PeriodicalId":52057,"journal":{"name":"Museum History Journal","volume":"8 1","pages":"168 - 187"},"PeriodicalIF":0.2,"publicationDate":"2015-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1179/1936981615Z.00000000048","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"65774748","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}

{"title":"Soviet Museums and Political Censorship: The Belarusian Experience","authors":"Alexander A. Huzhalouski","doi":"10.1179/1936981615Z.00000000050","DOIUrl":"https://doi.org/10.1179/1936981615Z.00000000050","url":null,"abstract":"Abstract For the first time, a wide range of archival sources, periodicals, and contemporary research — information on the establishment and operation of a museum censoring system in Soviet Belarus — is publicly available. Basic functions of Soviet Belarusian museums were subjected to comprehensive censorship including the manner in which societal processes were documented, the interpretation of collections on display, and even analysis of visitor logs and feedback. Museums, which were considered one of the most important channels for educating the communist masses, attracted special attention from government censors. This article examines the phenomenon of museum censorship, as one of the key functions of the institutions of political control and censoring, namely, the Communist Party Central Committee, Glavlit (Main Administration of Literary and Publishing Affairs), and Glavrepertkom (Main Repertoire Committee), while also providing insight into the character of the totalitarian museum.","PeriodicalId":52057,"journal":{"name":"Museum History Journal","volume":"8 1","pages":"209 - 222"},"PeriodicalIF":0.2,"publicationDate":"2015-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1179/1936981615Z.00000000050","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"65774764","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}

{"title":"The Hypothetical Nature of Architecture in Plimoth Plantation's Pilgrim Village","authors":"J. Bangs","doi":"10.1179/1936981615Z.00000000046","DOIUrl":"https://doi.org/10.1179/1936981615Z.00000000046","url":null,"abstract":"Abstract Ideas of Plymouth Colony's architecture have changed from log cabins to Plimoth Plantation's framed cottages. Lacking historical evidence about the earliest houses, the museum's architecture has recurrently reflected new historiographical emphases, away from the heroic ancestors to succeeding concepts of social history. This article identifies four themes that influenced the forms of Plimoth Plantation's replica houses — Pilgrims as Prototypical Suburbanites; as Folk; as Identifiably Ethnic; and Pilgrims as Representatives of their Class. Finally, fashionably up-to-date, the article concludes that, because of environmental changes, accurate reconstructions are now impossible; and attention may shift from the Pilgrims to Native American culture.","PeriodicalId":52057,"journal":{"name":"Museum History Journal","volume":"8 1","pages":"119 - 146"},"PeriodicalIF":0.2,"publicationDate":"2015-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1179/1936981615Z.00000000046","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"65774591","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}

{"title":"Thresholds of Memory: Representing Function through Space and Object at the Imperial War Museum, London, 1918–2014","authors":"A. Cundy","doi":"10.1179/1936981615Z.00000000053","DOIUrl":"https://doi.org/10.1179/1936981615Z.00000000053","url":null,"abstract":"Abstract The Imperial War Museum (IWM) in London has always balanced a number of functions. Seeking to represent the post-1914 conflicts of Britain and her Commonwealth, those responsible for the institution have also sought to commemorate and to inform. The balance of these priorities has shifted over time in ways that can be traced within the combined use of spaces and objects by the museum's curators. This article analyses the major changes in key elements of IWM London's display structure since 1918. Using this single institution as a case study reveals the particular importance of thresholds to the interpretation of the material culture displayed within its buildings. Thus, this article argues, these symbolically crucial border spaces merit attention in any analysis of museum spaces.","PeriodicalId":52057,"journal":{"name":"Museum History Journal","volume":"21 1","pages":"247 - 268"},"PeriodicalIF":0.2,"publicationDate":"2015-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1179/1936981615Z.00000000053","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"65775240","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}

{"title":"Cultures of Curating: The Limits of Authority","authors":"S. Longair","doi":"10.1179/1936981614Z.00000000043","DOIUrl":"https://doi.org/10.1179/1936981614Z.00000000043","url":null,"abstract":"This introduction explores themes discussed in the special issue of the Museum History Journal which examined critical issues in the history curating, in particular curatorial authority. It introduces a series of essays which together demonstrate how curators attempted to exert authority over institutions, collections, objects, knowledge and public understanding, It highlights the various factors, revealed in the essays, which would limit such expressions of authority.","PeriodicalId":52057,"journal":{"name":"Museum History Journal","volume":"8 1","pages":"1 - 7"},"PeriodicalIF":0.2,"publicationDate":"2015-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1179/1936981614Z.00000000043","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"65773869","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}

{"title":"Commissioning Artists: Community Engagement, Ethnographic Collections, and Changes in Curatorial Practices from the 1990s to 2000s in the UK","authors":"N. Ashmore","doi":"10.1179/1936981614Z.00000000040","DOIUrl":"https://doi.org/10.1179/1936981614Z.00000000040","url":null,"abstract":"Abstract The commissioning of artists, makers and communities to respond to collections is an important curatorial strategy used by many national and regional museums and galleries. The display of commissioned work within the ethnographic collections at Brighton Museum and Art Gallery and Manchester Museum are focused upon in this investigation. They are presented as examples of regional museums in England responding to the authority of the New Labour government’s cultural policies. The role these commissioned pieces play is discussed in relation to shifts in curatorial practices; the influence of New Labour’s cultural diversity agenda on this activity; the emphasis placed on the visibility of community engagement; and the issues surrounding the framing of these museum commissions as ‘authentic’.","PeriodicalId":52057,"journal":{"name":"Museum History Journal","volume":"8 1","pages":"59 - 72"},"PeriodicalIF":0.2,"publicationDate":"2015-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1179/1936981614Z.00000000040","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"65773738","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}

{"title":"Art or Document? Layard’s Legacy and Bellini’s Sultan","authors":"Alan Crookham","doi":"10.1179/1936981614Z.00000000037","DOIUrl":"https://doi.org/10.1179/1936981614Z.00000000037","url":null,"abstract":"Abstract The article explores changes in the attribution, reception, and interpretation of Gentile Bellini’s The Sultan Mehmet II. Formerly in the collection of Austen Henry Layard, the portrait now forms part of the collection of the National Gallery, London. The essay examines Layard’s own interpretation and display of the painting in order to shed light on how this influenced the initial public reception of the portrait and its later interpretation by curators and art historians. It also considers external factors that influenced the critical reception of the painting as well as its interpretation by successive generations of National Gallery curatorial staff. The essay concludes with an appraisal of the meaning of the painting within the national collection today.","PeriodicalId":52057,"journal":{"name":"Museum History Journal","volume":"8 1","pages":"28 - 40"},"PeriodicalIF":0.2,"publicationDate":"2015-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1179/1936981614Z.00000000037","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"65773399","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}

{"title":"Analyzing Art and Aesthetics (Artefacts: Studies in the History of Science and Technology, vol. 9).","authors":"Rodini Elizabeth","doi":"10.1179/1936981614Z.00000000045","DOIUrl":"https://doi.org/10.1179/1936981614Z.00000000045","url":null,"abstract":"Analyzing Art and Aesthetics is part of the Artefacts series published by the Smithsonian Institution in a joint partnership with the Deutsches Museum and the Science Museum of London. The premise of the series is to consider what can be discovered by looking across boundaries, and by bridging science, technology, and art; academic inquiry and museum work; art history, history of science, museum studies, and the applied arts. This volume, edited by Anne Collins Goodyear and Margaret A. Weitekamp, focuses on three key themes: models as aesthetic objects; the aesthetics of technology; and artists who respond to and interpret science and technology. A succinct summary of the volume’s underlying philosophy and investigative approach is presented by artist Shih Chieh Huang in one of the concluding essays: ‘[o]ur knowledge comes from the limits of human perspective’ (p. 270). Thus Huang recalls the insights of Lynne R. Parenti, curator of fishes and research scientist at the Smithsonian Institution and his mentor in the Smithsonian’s Artist Research Fellowship Program. If we can only know that which we already know to look for, then new ways of looking are key to broadening our insights. Collectively, these essays make a convincing case for the value of crosspollination between art, aesthetics, science, and technology, across the studio, the gallery, and the research essay. The table of contents reveals a cornucopia of intriguing topics. From mercurial pigments to artificial-tree cellular towers, from fanciful depictions of flying machines to applied colour systems, the sheer variety of material covered here is an invitation to dig more deeply. Appropriately, the contributors are also a varied crew: they come from the arts and sciences, the academy and the museum, several are exhibition designers and programmers, and one is an artist. Essays are thus both theoretical and applied, some favouring an analytical approach and others tending towards an accounting of projects and programmes. Together they make up a lively, quick-moving volume that is often illuminating, sometimes surprising, and never boring. The book is divided into four sections: ‘Models as Aesthetic Objects’; ‘Aesthetics of Technology’; ‘Artists Interpret Science and Technology’; and ‘Collaboration in Action’ (the last focusing on the Smithsonian Artist Research Fellowship Program noted above). This is a useful structure that arranges what could have been a disorienting array of materials into a coherent set of questions. Overall, the trajectory is from essays that consider how art and design have informed science towards those centred on science and technology as inspiration for artists. The book leans rather heavily towards the latter, and this imbalance might be considered one of its few shortcomings. museum history journal, Vol. 8 No. 1, January, 2015, 114–115","PeriodicalId":52057,"journal":{"name":"Museum History Journal","volume":"8 1","pages":"114 - 115"},"PeriodicalIF":0.2,"publicationDate":"2015-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1179/1936981614Z.00000000045","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"65774076","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}

{"title":"Aziz Ogan and the Development of Archaeological Museums in the Turkish Republic","authors":"M. Savino","doi":"10.1179/1936981614Z.00000000039","DOIUrl":"https://doi.org/10.1179/1936981614Z.00000000039","url":null,"abstract":"Abstract This article explores the contribution of Aziz Ogan (1888–1956) to the development of museological practices in Turkey, after the establishment of the Republic in 1923. Ogan exerted a key influence on the history of this discipline in the country: during the first part of his life, he was the main curator and director of the Izmir museum, and he later became the director of the Istanbul Archaeological Museum, one of Turkey’s major museological institutions. As curator of these two institutions, Ogan contributed to their radical transformation: new galleries were opened to the public, objects started to be catalogued systematically and scientifically, and laboratories dedicated to the restoration of objects were created. Through a careful analysis of Ogan’s biography and his curatorial work, this article aims to understand the change in curatorial practices in relation to the historical and cultural transformations which took place in Turkey during the first decades of the Republic. Furthermore, it explores the role of a curator and his individual agency within the wider historical context of Turkey in the first half of the twentieth century.","PeriodicalId":52057,"journal":{"name":"Museum History Journal","volume":"11 1","pages":"101 - 88"},"PeriodicalIF":0.2,"publicationDate":"2015-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1179/1936981614Z.00000000039","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"65773482","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}