{"title":"John mawurndjul在巴黎的艺术","authors":"Luke Taylor","doi":"10.1111/muan.12254","DOIUrl":null,"url":null,"abstract":"<div>\n \n <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>\n </div>","PeriodicalId":43404,"journal":{"name":"Museum Anthropology","volume":null,"pages":null},"PeriodicalIF":0.7000,"publicationDate":"2022-07-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"JOHN MAWURNDJUL'S ART IN PARIS\",\"authors\":\"Luke Taylor\",\"doi\":\"10.1111/muan.12254\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"<div>\\n \\n <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>\\n </div>\",\"PeriodicalId\":43404,\"journal\":{\"name\":\"Museum Anthropology\",\"volume\":null,\"pages\":null},\"PeriodicalIF\":0.7000,\"publicationDate\":\"2022-07-30\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Museum Anthropology\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://onlinelibrary.wiley.com/doi/10.1111/muan.12254\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"Q3\",\"JCRName\":\"ANTHROPOLOGY\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Museum Anthropology","FirstCategoryId":"1085","ListUrlMain":"https://onlinelibrary.wiley.com/doi/10.1111/muan.12254","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"Q3","JCRName":"ANTHROPOLOGY","Score":null,"Total":0}
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.
期刊介绍:
Museum Anthropology seeks to be a leading voice for scholarly research on the collection, interpretation, and representation of the material world. Through critical articles, provocative commentaries, and thoughtful reviews, this peer-reviewed journal aspires to cultivate vibrant dialogues that reflect the global and transdisciplinary work of museums. Situated at the intersection of practice and theory, Museum Anthropology advances our knowledge of the ways in which material objects are intertwined with living histories of cultural display, economics, socio-politics, law, memory, ethics, colonialism, conservation, and public education.