Since the 1960s, many artists have incorporated ecological concerns into their work, an endeavor that has required new strategies in art-making. To explore recent American manifestations of these interests, the David and Alfred Smart Museum commissioned new projects from artists Mark Dion, Peter Fend, and Dan Peterman, each focusing on interrelationships between particular organisms—human beings-and a specific group of sites—a museum building, a river landscape, and a university campus. The results, exhibited at the Smart Museum during the (...) summer of 2000, evoke the varied scales, from the microscopic to the global, at which human actions affect the environment. This catalog documents each of the artists' projects through an array of images and words: Smart Museum Associate Curator Stephanie Smith provides an introduction and brief overviews of the three projects, each of the artists contribute statements, and photographers Susan Anderson and Tom van Eynde document—in over 100 images—the processes and projects that comprise the exhibition. (shrink)

This article explores issues involved in representing Buddhism in museums, drawing on the author’s experience of curating the Buddhism display at the World Museum Liverpool. It is concerned with processes of de-contextualization and re-contextualization, focussing on whether sacred images become divested of their religious functions once they enter a museum or if, instead, the gallery can be considered an alternative arena for contemplation. The article begins by reviewing the literature on museums and the sacred. It discusses the lack (...) of concern historically for religion in museums, noting how sacred objects have tended to be ‘secularized’ in exhibitionary contexts. It then examines the Buddhism display at the World Museum Liverpool, part of the permanent World Cultures gallery which opened in 2005, with its reconstructions of a shrine, an altar and a protective chapel — this is a museological environment which deliberately evokes the atmosphere of a temple. (shrink)

In the museum context, curators and conservators often play a role in shaping the nature of contemporary artworks. Before, during and after the acquisition of an art object, curators and conservators engage in dialogue with the artist about how the object should be exhibited and conserved. As a part of this dialogue, the artist may express specifications for the display and conservation of the object, thereby fixing characteristics of the artwork that were previously left open. This process (...) can make a significant difference to the visual appearance of the work, the nature of the audience's experience, and how the work should be interpreted. I present several case studies in which the nature of the artwork has been shaped by such dialogues, and discuss principles for resolving cases in which there is a conflict between instructions specified by the artist and those adopted by the museum. (shrink)

In the late nineteenth century, the anthropology curators of the Smithsonian Institution consulted their cataloguing systems and storerooms, assessing specimens in order to determine which could be designated as duplicate specimens and exchanged with museums domestically and abroad. The status of ‘duplicate’ for specimens was contingent on conceptions of similiarity impacted by disciplinary classification praxis, with particular emphasis on object nomenclature and formal attributes. Using rattles from Haida Gwaii collected between 1881 and 1885 by James Swan for the Smithsonian (...) Institution, this article explores how anthropology curators designated rattles as exchangeable duplicate specimens. It considers cataloguing and spatial arrangements, as well as changing populations and formal characteristics of rattles, in order to explore how similarity was operationalized in the museum to produce duplicate anthropological specimens. (shrink)

It is a widely accepted trope that museums work for future generations. They often define themselves in relation to heritage: something of the past, which is celebrated in the present and securely preserved for the future. In doing so, museums cloak themselves in a shroud of respectability for appropriately thinking in short and long terms and bravely facing future challenges. But what kind of future is at stake in this imperative to secure a heritage for future generations? Taking on a (...) deliberate speculative tone and a philosophical outlook, this essay attempts to address this question by suggesting that museums organize their work on the basis of three futures, entirely riveted to an economic understanding of temporality. Against these, the essay also proposes a fourth future that not only gives impetus to their existence, but also provides them with the only way out of the economic temporalities that govern their existence. (shrink)

Using as case studies the initiatives developed by two museum curators, the Belgian bibliographer Paul Otlet (1868–1944) and the Austrian social scientist Otto Neurath (1882–1945), and their subsequent collaboration with an extended network of scientists, philanthropists, artists, and social activists, this article provides a portrait of the general movement toward the creation of a new form of museum: the “museum of the future,” as Neurath labeled it. This museum would be able to enlighten the people (...) by showing the nature of modern industrial civilization. The promoters of the “museum of the future” intended to reform museum practices by organizing exhibitions of social facts, but also by integrating several dimensions – architecture, commerce, entertainment, pedagogy, and science and technology – to create a holistic frame to address their audience. However, the effortlessly circulating museum Neurath and Otlet envisioned stood in sharp contrast to the many, often immaterial, boundaries they encountered in their attempt to implement their vision. Ever-growing nationalism, the professionalization of social science, and the increasing commercialization of scientific vulgarization are some of the factors that help explain their failure. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Museum Education and the Project of Interpretation in the Twenty-First CenturyRika Burnham and Elliott Kai-KeeThis is what we shall look for as we move: freedom developed by human beings who have acted to make a space for themselves in the presence of others, human beings become "challengers" ready for alternatives, alternatives that include caring and community. And we shall seek, as we go, implications for emancipatory education conducted (...) by and for those willing to take responsibility for themselves and for each other. We want to discover how to open spaces for persons in their plurality, spaces where they can become different, where they can grow.—Maxine Greene, The Dialectic of Freedom, 56In the art museum of the future, we walk into a gallery in which the hum of conversation fills the space. A small group of visitors clusters around a single work of art, exchanging their observations, led quietly in their conversation by a museum educator. The group has gathered for a program in which visitors are invited into a dialogue with the educator, with each other, and above all, with the artwork. As this group's conversation concludes, other groups will take their place, attending to different works of art, unfolding them in different ways.We share with David Carrier a vision of the future museum rooted in the Enlightenment dream of a sphere of conversation accessible to all citizens, a public museum space "devoted to a genuinely democratic talk about visual art." In such a museum the galleries are not primarily considered places where art historical information is transferred. They are instead redefined as places where conversation takes place around works of art and where the project of interpretation is constantly enacted.The educators who are responsible for these conversations have a central place in the future museum. Once charged with translating curatorial interpretations to the public, educators are now charged with including everyone [End Page 11] in the translation of the artworks. Knowledgeable in the collections and experienced with audiences, they bring people and works of art together for appreciation and exploration. Engaged in the exchange of thoughts and observations about artworks, carried into the back-and-forth flow of discussion about the artworks, visitors translate impressions into conjectures, and, ideally, understanding and interpretation.Visitors come to the museum to learn about art through gallery conversations during which they actively take part in a form of interpretive play that animates, and in a sense performs, works of art as visitors look at them and talk about them. When the play is successful, it is full of energy and passion. The museum galleries become active places where ideas are freely exchanged, where hermeneutic improvisation and experimentation are encouraged and valued.The constantly recurring play of art makes the museum a place of interpretive freedom, open to many viewpoints and the possibility of multiple interpretations. Educator and visitor both realize that understandings of works of art are never complete. They know that every conversation opens the artworks to the possibility of new meanings and new interpretations.In the museum of the future, the mission of offering visitors such special experiences is not distinct from the museum's traditional charge of caring for the objects in its collections. For it is only when visitors attend to the works of art, and interpret them, that the artworks come alive. As John Dewey said almost a century ago, the work of art comes alive in the viewer's experience. Visitors, educators, and curators share in the endeavor of making sense of works of art, each taking their own part in the process of bringing them to life with their scrutiny, and keeping them alive as they interpret and reinterpret them.The deepest and most affecting experiences visitors have in art museums are those in which they share in the unfolding, unraveling, and translation of the meaning of artworks. In the museum of the future, everyone is invited into such conversations. Everyone understands that they are important participants in the lives of the objects displayed there, as they take part in the play of interpretation that dances around them.Museums are first and foremost for people; they are... (shrink)

Open the box -- The museum effect -- Art or artifact -- Public inquiry -- Framing the frame -- Curator/creator -- On the inside -- Without walls.

In Black Museum, a young woman is out to take revenge on the man who imprisoned her father's digital self in a museum exhibit that allows sadistic visitors to reenact his execution. While the exhibit is morally detestable and some may think that the museum's curator gets what he deserves in the end, the woman's act of vengeance is morally disturbing. This chapter explores Martha Nussbaum's account of anger and forgiveness and considers Christian and Buddhist teachings. An (...) argument by David Kyle Johnson for the moral permissibility of revenge under certain circumstances is considered and rejected. The authors conclude that the act of revenge in Black Museum is not morally justified. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Museums in Transition:Thoughts from an EmpiricistSean UlmerIn March 2005 Daniel Siedell, curator of the Sheldon Memorial Art Gallery and Sculpture Garden at the University of Nebraska in Lincoln, approached me with an invitation to participate in a symposium for the Journal of Aesthetic Education that he was guest editing. He said that the symposium would be dedicated to curatorial and educational issues and suggested that each of the contributors (...) could use David Carrier's forthcoming book as a starting point for their essays. At that time, I did not know of Carrier's thoughts but had a number of thoughts myself on issues related to curatorial and educational strategies within the museum setting. My experience in a variety of positions in three—now four—institutions had provided me with a number of perspectives about different facets of the museum and its curatorial and educational missions.In Carrier's book, Museum Skepticism, released in May 2006, the author posits a number of thought-provoking observations regarding the birth, evolution, and decline of the museum. Tracing this development from the French Revolution and the opening of the Louvre, through the Isabel Stewart Gardner Museum, the Boston Museum of Fine Arts, Albert Barnes's collection and foundation/museum, and finally the J. Paul Getty Museum, Carrier looks at specific examples to support claims he makes in his intriguing opening and concluding chapters. While there are too many worthwhile observations to explore in great detail here, I will address some of the issues that piqued my interest, coming at the question from a different point of view, that of a working museum professional.Let me begin by stating that I am no theorist. Instead, I am an unapologetic pragmatist.1 My entire career has been shaped by actual work within a museum, seeing the institution—or "organism" as I usually refer to it—from a number of different vantage points.2 These varied experiences have given me the opportunity to see the museum—at least a Kunsthalle, two university museums, and a public museum—from several different vantage points. [End Page 4]In his introductory chapter, Carrier asks his primary question: "What is it like to lead the life of a work of art?"3 This is a very interesting question, and one with which many of us rarely consider in our day-to-day work within the museum's walls. In order to answer the question fully, Carrier suggests that "we need to understand museums."4 Indeed. In actuality, museums (and there are many different types) are just one component that must be considered. For a full consideration of the life of the work of art, one must start with the artist. What were his or her motivations? What was he or she trying to accomplish with the work? How was it first shown? In a gallery? In a museum show? How did the artist intend the work to be shown? What was the role of the patron or commissioner, if there was one? We know that the Catholic Church was an important originator of a number of great works of art and many were destined for church interiors, and some still are in situ. One cannot deny, however, that many of the world's great works of art ("great" simply deemed so by consensus) have found their way into museums. Museums are much more complex beasts than Carrier—or anyone for that matter—can cover within the confines of a single, publishable book. So many factors must be considered, especially when considering today's museums, as they continue to evolve and grow: the role of the collector, the patron, the board, the director, the curator, the education staff, the guards, and the public, to name just a few individuals who require consideration when analyzing museums. Such an interesting mixture of different individuals, each with a unique perspective (and agenda), coming together in one place makes for this complexity. And while the author uses this question of the life of a work of art as a starting point, he finds in the progress of the text a number of other stimulating and thoughtful observations. There is much more contained within... (shrink)

History in times of crisis is practical: future action depends on historical framing. Moving beyond “human scales” to include the evolutionary and the geological, and beyond humans to include other species, demands different approaches and new “archives” like ice-cores. This paper considers history in the Long Now, and particularly how museums and big public arts institutions develop new sorts of history through practical story-telling, taking seriously the notion that “the central role of museums [is] both an expression of cultural identity (...) and … a powerful force for human development and education.” The museum has a particular value as “slow media”, deepening news stories in times of rapid change. The new epoch of Earth, the Anthropocene, where humans have become a geological force, poses challenges for exhibitions, but also reshapes museums themselves. Crucial to managing stories, collections and objects in Anthropocene times is the capacity to change course, to remain open to new developments, using performances, events and “pop-up” exhibitions alongside traditional museum offerings. New Museology regards stories as the fundamental unit of museums. Thus, the curation of stories is central work. No longer are museums defined solely by objects: the artistic and the ephemeral are all part of story-telling. (shrink)

The article is an overview of the growth of an interest in painting, from the mid-sixteenth to the mid-nineteenth century, among a public not much involved in either the production or purchase of works of art. For the earlier period the main evidence is provided by guidebooks and other publications of a more general type, especially in Italy, which often incorporated the names of leading artists, but seldom provided information about their careers or where their works could be seen. This (...) situation only began to change in a significant way in the second half of the seventeenth century. From that time onwards a new type of publication appeared, that is to say catalogues of major collections of paintings usually open to members of the public. This development was particularly evident in Germany and later in Austria. Such publications rarely included much historical or chronological information about the artists themselves, and the collections were only rarely arranged on geographical or chronological lines, a practice at first mainly confined to early paintings which previously had rarely been displayed at all. A more didactic and historical approach to display and to the compilation of museum catalogues only emerged from around 1850, after Frédéric Villot, curator of paintings at the Louvre, created the model for a new type of catalogue intended both as a contribution to art-historical knowledge and as a source of information for visitors. (shrink)

Museums and their practices - especially those involving collection, curation and exhibition - generate a host of philosophical questions. Such questions are not limited to the domains of ethics and aesthetics, but go further into the domains of metaphysics, epistemology and philosophy of religion. Despite the prominence of museums as public institutions, they have until recently received surprisingly little scrutiny from philosophers in the Anglo-American tradition. By bringing together contributions from philosophers with backgrounds in a range of traditional areas of (...) philosophy, this volume demonstrates how their work can enhance our understanding of museums and shed light on the philosophical questions raised by museum practices. Many of the chapters in this volume make the case that the philosophy of museums is of vital concern, not only to those philosophers at work in the emerging field but also to practitioners within the museum world and to anyone who enjoys visiting museums. (shrink)

A new ethics for the global practice of curating Today, everyone is a curator. What was once considered a hallowed expertise is now a commonplace and global activity. Can this new worldwide activity be ethical and, if yes, how? This book argues that curating can be more than just selecting, organizing, and presenting information in galleries or online. Curating can also constitute an ethics, one of acquiring, arranging, and distributing an always conjectural knowledge about the world. Curating as Ethics is (...) primarily philosophical in scope, evading normative approaches to ethics in favor of an intuitive ethics that operates at the threshold of thought and action. It explores the work of authors as diverse as Heidegger, Spinoza, Meillassoux, Mudimbe, Chalier, and Kofman. Jean-Paul Martinon begins with the fabric of these ethics: how it stems from matter, how it addresses death, how it apprehends interhuman relationships. In the second part he establishes the ground on which the ethics is based, the things that make up the curatorial--for example, the textual and visual evidence or the digital medium. The final part focuses on the activity of curating as such--sharing, caring, preparing, dispensing, and so on. With its invigorating new approach to curatorial studies, Curating as Ethics moves beyond the field of museum and exhibition studies to provide an ethics for anyone engaged in this highly visible activity, including those using social media as a curatorial endeavor, and shows how philosophy and curating can work together to articulate the world today. (shrink)

Museums and their practices—especially those involving collection, curation and exhibition—generate a host of philosophical questions. Such questions are not limited to the domains of ethics and aesthetics, but go further into the domains of metaphysics, epistemology and philosophy of religion. Despite the prominence of museums as public institutions, they have until recently received surprisingly little scrutiny from philosophers in the Anglo-American tradition. By bringing together contributions from philosophers with backgrounds in a range of traditional areas of philosophy, this volume demonstrates (...) how their work can enhance our understanding of museums and shed light on the philosophical questions raised by museum practices. Many of the essays in this volume make the case that the philosophy of museums is of vital concern, not only to those philosophers at work in the emerging field but also to practitioners within the museum world and to anyone who enjoys visiting museums. (shrink)

Current art world statistics demonstrate that the fight for gender and race equality in the art world is far from over: only sixteen percent of this year's Venice Biennale artists were female; only fourteen percent of the work displayed at MoMA in 2016 was by nonwhite artists; only a third of artists represented by U.S. galleries are female, but over two-thirds of students enrolled in art and art-history programs are young women. Arranged in thematic sections focusing on feminism, race, and (...) sexuality, Curatorial Activism examines and illustrates pioneering examples of exhibitions that have broken down boundaries and demonstrated that new approaches are possible, from Linda Nochlin's 'Women Artists' at LACMA in the mid-1970s to Jean-Hubert Martin's 'Carambolages' in 2016 at the Grand Palais in Paris. Including interviews with pioneering curators such as Okwui Enwezor, Linda Nochlin, Jean-Hubert Martin, and Nan Goldin, this volume is both an invaluable source of practical information for those who understand that institutions must be a driving force in this area and a vital source of inspiration for today's expanding new generation of curators. Preface by Lucy R. Lippard. (shrink)

This paper examines the discrepancy between the attitudes of many historians of mathematics to sixteenth-century geometry and those of museum curators and others interested in practical mathematics and in instruments. It argues for the need to treat past mathematical practice, not in relation to timeless criteria of mathematical worth, but according to the agenda of the period. Three examples of geometrical activity are used to illustrate this, and two particular contexts are presented in which mathematical practice localised in (...) the sixteenth century takes on a special historical significance. (shrink)

Museums’ structures, spaces, and exhibits are understood as semiotic resources that make spatial texts that communicate a discourse defined by the authorities of the museum or its curators. The current study follows a social-semiotic approach in analyzing the spatial discourse of the Children’s Museum in Amman. It demonstrates that interpersonal meanings are semiotically communicated to children visitors in the Museum by firstly establishing a “comfort-zone” and secondly by aligning children visitors into groups with shared qualities, attitudes, (...) and dispositions of affiliation and solidarity, and thirdly by providing abstract and material representations of the real world that encompasses participants, processes, events, and places. These interpersonal meanings produce a pedagogical discourse that semiotically addresses Jordan’s energy and water challenges, and that can “charge” the Museum’s role as a “Bonding Icon” that stands for shared communal ideals that Jordanians might identify with, or rally around. (shrink)

This work is an attempt to explore both the increase in and the breadth of popular collecting in Britain. It does this by examining the contexts of social change over the past 20 years. This change, it is argued, has led to a culture of social and material insecurity, in which collecting is used for the creating and defence of identity. The social theory of Guy Debord is employed as an underlying philosophy in which contemporary popular collecting is interpreted as (...) an expression of a moral value system in a society driven by market forces. The social world and values of collectors are explored through their clubs. These, it is asserted, comprise an alternative society, one in which a legitimization of the collector's activities and preferences can be made and in which they develop a complementary reality. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Taking Up Space:Museum Exploration in the Twenty-First CenturyTiffany Sutton (bio)Museums have become a crucible for questions of the role that traditional art and art history should play in contemporary art. Friedrich Nietzsche argued in the nineteenth century that museums can be no more than mausoleums for effete (fine) art.1 Over the course of the twentieth century, however, curators dispelled such blanket pessimism by showing that what keeps (...) historical art museums, both comprehensive and modern, "alive" and relevant in the modern art world are the things that curators do with the artworks in their collections.2 In certain cases, I will argue in this article, the focus on artworks and the relationship between them can be rewardingly shifted onto the spatial aspect of the museum. I will try to show what such a shift of focus entails, show that it involves a gestalt shift (in Wittgenstein's terms, the "dawning of an aspect"), and illustrate the limits within which this can arise.3 The foremost of these limiting factors is museum architecture, and I will discuss this to the extent that it determines the limits of what curators can do. How architects do things with museums, however, lies outside the scope of this article.An Art Historical Heuristic Gets a Curatorial MakeoverNineteenth-century art museums typically were vast, labyrinthine, and built to assume the shape of a comprehensive art historical narrative, so they were easy targets for ideologues drawn to vibrant modern artworks and the controversy surrounding them. At the turn of the twentieth century new commercial galleries developed a distinctively modern mode of display in which individual artworks were showcased with plenty of space around them.4 Had existing museums changed their ways to accommodate these developments, the momentum of a new aesthetic of flatness, surface, [End Page 87] and yet purer forms of conceptualism would have been lost. It was not a time for absorption and deflation: new museums, no less monumental and historical but smaller and with fewer volumes, were commissioned to give modern art the appearance of a fresh start.5 The weightless upward mobility of Frank Lloyd Wright's Guggenheim Museum in Manhattan, modeled in 1945 and opened to the public in 1959, consummated this trend of the first half of the twentieth century and gave it its purest form. What the building spurt revealed was that as art changes, it demands to be reflected in its surroundings, not merely accommodated. That the response was to build new museums rather than new wings suggests the inner workings of the principle—call it "curatorial heuristic one"—that, whereas art history is fluid and simply flows forward with new developments, museums are not of this nature; they can become effete.The curatorial revision of this heuristic was a century in coming. As often happens when emerging movements are yet underdetermined, modernism suppressed in its beginnings the background factor that would seem to entail the end of modern art when finally brought into focus: the very context of display that had once set it apart. Duchamp's Readymades (1913) gave the initial nod (or wink) to the gallery context; it was, however, ignored, as a suppressed punch line, until art history was ready to concede the importance of the context of display—not in the gallery, but in the museum—to a site-specific artwork by Richard Serra: his Splashing and Prop (1968). With the museum's framing context and, concomitantly, the importance of the curator's work conceded, the barrier that had kept lesser masterpieces in the basement (or out of the museum) were removed. Unearthed, these began to circulate, and attention centered on the relation in which they stood to better-known artworks, either as suppressed alternates or as descendants of an artistic lineage. So postmodern sprawl began, with the display of multiple alternative art histories drawing, as modernism had, on available display conventions for periodizing according to internal principles (period, school, genre, style) such that detection of them devolved upon the viewer.When public uses for the new public museums began to diversify (from an historical/educational focus to aesthetic/educational and cultural/political ones), principles for ordering artworks were... (shrink)

The actual and potential uses of holograms in museum displays, and the philosophy of knowledge and progress that they represent. Magazine journalists, museum curators, and historians sometimes face similar challenges in making topics or technologies relevant to wider audiences. To varying degrees, they must justify the significance of their subjects of study by identifying a newsworthy slant, a pedagogical role, or an analytical purpose. This chasse au trésor may skew historical story telling itself. In science and technology (...) studies, the problem potentially is worst for those subjects that do not retain an enduring capacity for spectacle or do not readily conform to templates of progress or economic importance. The case of holography is an excellent illustration of these points. An unusually wide-ranging subject, holography has attracted competing interpretations of intellectual novelty, technological application, and cultural significance. This paper examines the history of museum collections and exhibits of holography from the explosion of interest in the technique in 1964 to the end of the twentieth century. I argue that holography presents a particular challenge to museum collections and to popular representations of the history of science and technology. (shrink)

Dr Ernst Mayr has been one of the seminal figures of 20th century biology. His essential contributions were in the development of the Modern Synthesis in evolutionary biology. His landmark book Systematics and the Origin of Species, was published in 1942 and has long been acknowledged as one of the key foundations of 20th century evolutionary biology. In many subsequent articles and books on evolution and the history and philosophy of biology during the past half century, he has continued to (...) be a key contributor of ideas and inspiration to successive generations of evolutionary biologists.In the first of two ‘Roots’ articles, he describes the early stages of his career and the serendipitous events that furthered it. This article was first presented as a talk, on October 27, 1993, at the 50 year Jubilee celebration of the founding of the Whitney wing, the ornithological section, of the American Museum of Natural History in New York City. In next month's ‘Roots’ article, Dr Mayr will describe the events that led to the founding of the Society for the Study of Evolution in 1946, in St Louis, Missouri. (shrink)

The natural history museum is a place where the line between "high" and "low" culture effectively vanishes--where our awe of nature, our taste for the bizarre, and our thirst for knowledge all blend happily together. But as Stephen Asma shows in Stuffed Animals and Pickled Heads, there is more going on in these great institutions than just smart fun. Asma takes us on a wide-ranging tour of natural history museums in New York and Chicago, London and Paris, interviewing (...) class='Hi'>curators, scientists, and exhibit designers, and providing a wealth of fascinating observations. We learn how the first museums were little more than high-toned side shows, with such garish exhibits as the pickled head of Peter the Great's lover. In contrast, today's museums are hot-beds of serious science, funding major research in such fields as anthropology and archaeology. "Rich in detail, lucid explanation, telling anecdotes, and fascinating characters.... Asma has rendered a fascinating and credible account of how natural history museums are conceived and presented. It's the kind of book that will not only engage a wide and diverse readership, but it should, best of all, send them flocking to see how we look at nature and ourselves in those fabulous legacies of the curiosity cabinet."--The Boston Herald. (shrink)

Traditionally galleries and museums were one-dimensional, visually.These curators, critics, artists and gallerists developed multi-sensory art galleries, involving all senses. as well as living installations such as bees producing honey their books published. This is far beyond traditional installations and exhibitions. Night tours by torchlight, education, accommodation, therapy, participation, exploration, local community involvement and more are available.

The Getty Museum owns 171 pictures by Ulmann, 55 of which are presented in the Museum's In Focus series. Judith Keller, associate curator of photographs at the J. Paul Getty Museum, wrote the extensive accompanying captions and participated, along with William Clift, David Featherstone, Charles Hagen, Weston Naef, Ron Pen, and Susan Millar Williams, in a 1994 colloquium on Ulmann and her work.

ABSTRACT This essay examines the exhibition of dinosaurs at the American Museum of Natural History during the first two decades of the twentieth century. Dinosaurs provide an especially illuminating lens through which to view the history of museum display practices for two reasons: they made for remarkably spectacular exhibits; and they rested on contested theories about the anatomy, life history, and behavior of long-extinct animals to which curators had no direct observational access. The American Museum sought (...) to capitalize on the popularity of dinosaurs while mitigating the risks of mounting an overtly speculative display by fashioning them into a kind of mixed-media installation made of several elements, including fossilized bone, shellac, iron, and plaster. The resulting sculptures provided visitors with a vivid and lifelike imaginative experience. At the same time, curators, who were anxious to downplay the speculative nature of mounted dinosaurs, drew systematic attention to the material connection that tied individual pieces of fossilized bone to the actual past. Freestanding dinosaurs can therefore be read to have functioned as iconic sculptures that self-consciously advertised their indexical content. (shrink)

Since its foundation in the mid-nineteenth century, the University of Toronto has accumulated a substantial number of historically-significant scientific objects. As Canada’s largest research university, much of this material is of national significance. Despite numerous attempts since the late 1970s to establish a universal policy for the preservation and safeguarding of scientific apparatus, the survival of Toronto’s scientific material heritage has depended partly on the initiatives of dedicated individuals, partly on luck.The following examination seeks a comprehensive history of the material (...) culture of science at the University, focussing on scientific instrumentation and natural history collections. It examines the circumstances under which some material survives and traces efforts to develop a curated collection, concluding with some recent progress in acquiring storage and developing an online catalogue. It argues that early university science museums formed an important venue through which the University fulfilled its public function of studying the frontier and assisting the expansion of the colonies. The display and interpretation of scientific material culture had an important impact on the University’s early history. (shrink)

Abstract:The article presents a phenomenological-hermeneutic account of everyday aesthetics based on the Playful Eye, an experiential method for encountering the "Other" through contemplative, somatic, and embodied practices informed by the concept of play. The experiences co-curated with participants—illustrated here by a Playful Eye event held in Osh, Kyrgyzstan—are grounded in an understanding of the relationship between the self and Other, cultivating a sense of inner truth that is unconcealed when the sensing agent experiences itself through being sensed. It is contended (...) that everyday aesthetics provides a muted, fleeting experience of the Other, the seamless and ceaseless succession of the parts that constitute the totality of engagement with the world. This transformative understanding as "extended self," also evident in many Indigenous traditions, can provide the common ground for dialogue, empathy, and compassion in contexts where conflicting values and beliefs might otherwise result in indifference or hostility. (shrink)

Kertesz created some of the most acclaimed photographs of the twentieth century, and the J. Paul Getty Museum is fortunate to own a wide selection of his work. This volume - the first in the Museum's new In Focus series, which is devoted to photographers whose work is particularly well represented in the Getty - presents a handsome selection from the 164 Kertesz photographs in the Museum's collection. The photographs are accompanied by commentaries by Weston Naef, the (...) Getty's Curator of Photographs. (shrink)

How can we rethink anthropology beyond itself? In this book, twenty-one artists, anthropologists, and curators grapple with how anthropology has been formulated, thought, and practised 'elsewhere' and 'otherwise'. They do so by unfolding ethnographic case studies from Belgium, France, Germany, Italy, the Netherlands, and Poland - and through conversations that expand these geographies and genealogies of contemporary exhibition making. This collection considers where and how anthropology is troubled, mobilised, and rendered meaningful. 'Across Anthropology' charts new ground by analysing the (...) convergences of museums, curatorial practice, and Europe's reckoning with its colonial legacies. Situated amid resurgent debates on nationalism and identity politics, this book addresses scholars and practitioners in fields spanning the arts, social sciences, humanities, and curatorial studies."--Page 4 of cover. (shrink)

Narratives of artificial intelligence frame public perceptions and expectations, and have a performative role, potentially leading to increased attention and resource allocation, acceptance of AI, or resistance to the technology. However, research on AI narratives frequently produces generalized and decontextualized accounts. This paper argues for closer examination of the specific processes that shape AI narratives in particular contexts. To explore this, nine AI-related exhibitions held in German museums from 2022 to 2023 were analyzed. The study draws on interviews with curatorial (...) teams and exhibition materials to investigate what narratives of AI museums are formed and how those relate to the dominant AI narratives described in previous research. It is shown that curators are critical of dominant AI narratives and aim to deconstruct common myths and present more nuanced portrayals of AI. Yet, they also face challenges in balancing this critical stance with the need for creating engaging, accessible exhibitions. The analysis reveals that while some curatorial strategies successfully counter AI stereotypes, others fail or inadvertently reproduce mainstream imaginaries. Curators discover that avoiding problematic understandings of AI in the way they had initially intended is challenging or even impossible. In other cases, when elements of mainstream AI discourse resurface in museum exhibits despite the critical stance of the curators, they remain unexamined, or are regarded as insignificant and inconsequential. (shrink)

The stage-like “exhibitionary space,” which members of the public visit, has received more scholarly scrutiny than the pedagogical and curatorial activities that take place in the back rooms of museums. This essay draws attention to the behind-the-scenes places in university museums as a pedagogic site where students learn through the close examination of artefacts. It addresses the social context of learning through the study of incomplete objects, which may involve handling them. This process of using artefacts to engage with different (...) groups of people (collectors, curators, teaching staff and students) contributes to the physical and intellectual development of academic disciplines. It enhances the museum's institutional mission and survival as an incorporated body that is embedded in a greater whole, the university itself. The Ashmolean Museum, in the University of Oxford, and the Balfourian and Sibbaldian Museums, in the University of Edinburgh, were founded in the seventeenth century. But whereas the Ashmolean survived as an institution, the first Edinburgh collections did not. These historical antecedents serve as a backdrop to a discussion of how one particular example, the Cambridge Museum of Archaeology and Anthropology (CUMAA), trains new generations of learners to evaluate empirical evidence and by working with different communities of users—students and the wider public—it ensures its survival. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Symposium: The Future of the Art Museum: Curatorial and Educational Perspectives:IntroductionDaniel A. SiedellIntroductionThere are few futures pondered more often than the art museum's. The new millennium has spawned a veritable cottage industry of such prognostication. Most of it has occurred from the perspectives of building expansion, audience growth, and collection development. These are not, by any means, unimportant considerations. However, such sustained attention to them by directors, (...) marketers, board members, collectors, and the mass media tend to obscure the fact that these areas of concern are not ends in themselves. A new museum wing, higher attendance, and more gifts of art to the collection mean little unless they serve to facilitate specific curatorial and educational ends, which themselves are in the service of expanding and deepening their capacity to enhance the experience of art. The future of the art museum rests on the ability of curators and educators to develop new and more robust curatorial and educational work that is responsive to both the larger culture and to the vocational standards of their respective professions. Curators and educators need, then, to be more self-critical of their practices.This symposium brings together a few of these professionals to reflect on the future of the art museum from the perspective of those involved in the day-to-day production, presentation, and interpretation of works of art. It is occasioned by the publication of David Carrier's book, Museum Skepticism: A History of the Display of Art in Public Galleries, recently published by Duke University Press, and more specifically, Carrier's conclusion, which offers its own reflection on the future of the art museum. A frequent contributor to the Journal of Aesthetic Education, Carrier is a philosopher and art critic whose interests range widely from the art criticism of John Ruskin and Adrian Stokes to the writing of art history and the paintings of Sean Scully.1 Carrier's book, written while a scholar in residence at the Getty Center for the History of Art and the Humanities, explores the history and philosophy of art museums from the point of view of the narratives on which they rely as well as produce. And it is narratives that art educators and curators produce, affirm, and expand when they curate exhibitions and do educational programming.Because they are "public" institutions (even when they are private organizations) and serve many competing audience constituencies, art museums [End Page 1] often suffer from an acute identity crisis, even while they build large expansions, engage in aggressive campaigns to court collectors, placate increasingly more powerful governing boards, and expand their programming to the point that it ceases to be education. The business of the art museum often masks these deep crises, which eventually become a neurosis that plagues curatorial and educational practice. A symptom of this illness can be seen in the misplaced tension between curators and educators as a battle between the "scholars" and the "popularizers," the "elites" and the "community."In 1946 Alfred H. Barr Jr. of the Museum of Modern Art presented a paper called "Research and Publication in Art Museums."2 In it Barr not only recognizes the importance of museum scholarship; he argues that such scholarship, unlike that of the academic art historian, must engage and interact with "the man off the street." Indeed, Barr passionately believed that museum scholarship not only could but should engage a broader and more diverse public all the while remaining committed to scholarly ideals. Barr acknowledges the tensions between museums as "popular community centers" and museums as places of "research and publication." But, he continues, "Both can be done provided we have enough faith to believe in the values of both and enough skill to persuade others to agree with us."3 Barr's expansive definition of scholarship is instructive and a challenge. "By publication I mean not only the scholarly treatise but also the popular article or book, the classroom or public lecture, the gallery talk, publicity releases."4 For Barr, scholarship is not merely a curator's or educator's opportunity to address her professional colleagues and strengthen guild rank; it is a value that is infused throughout all work... (shrink)

New York in the mid-1950s was a time of detectives, G-men, mobsters, and crime photographers. Weegee fit this last profile perfectly. Speed Graphic camera in hand, he dashed around the city responding to the police radio, recording accidents, arrests, fires, and murders. This volume in the J. Paul Getty Museum's In Focus series examines approximately fifty of the ninty-five Weegee prints in the collection, surveying his photojournalism as well as additional works that picture life in the Bowery, Greenwich Village, (...) and Harlem. Judith Keller, Associate Curator in the Department of Photographs, provides an introduction to Weegee and commentary on the plates. The photographer was the subject of a colloquium at the Getty Museum on August 27, 2004, where the author was joined by David Featherstone, Michael Hargraves, Weston Naef, Miles Orvell, Ira Richer, Colin Westerbeck, and Cynthia Young in discussing his life and work. This conversation, captured here in an edited transcript, traces Weegee's transition from crime photography to social documentarian, with special attention paid to his publications, including Naked City. William McCleery, in the foreword to that book, calls Weegee "an Artist" with "his own conception of what constitutes beauty." With the issuance of this In Focus installment, readers can again share in Weegee's conception. (shrink)

This book offers an interdisciplinary analysis of the social practice of taste in the wake of Pierre Bourdieu¿s sociology of taste. For the first time, this book unites sociologists and other social scientists with artists and curators, art theorists and art educators, and art, design and cultural historians who engage with the practice of taste as it relates to encounters with art, cultural institutions and the practices of everyday life, in national and transnational contexts. The volume is divided into (...) four sections. The first section on ¿Taste and art¿, shows how art practice was drawn into the sphere of ¿good taste¿, contrasting this with a post-conceptualist critique that offers a challenge to the social functions of good taste through an encounter with art. The next section on ¿Taste making and the museum¿ examines the challenges and changing social, political and organisational dynamics propelling museums beyond the terms of a supposedly universal institution and language of taste. The third section of the book, ¿Taste after Bourdieu in Japan¿ offers a case study of the challenges to the cross-cultural transmission and local reproduction of ¿good taste¿, exemplified by the complex cultural context of Japan. The final section on ¿Taste, the home and everyday life¿ juxtaposes the analysis of the reproduction of inequality and alienation through taste, with arguments on how the legacy of ideas of ¿good taste¿ have extended the possibilities of experience and sharpened our consciousness of identity. As the first book to bring together arts practitioners and theorists with sociologists and other social scientists to examine the legacy and continuing validity of Pierre Bourdieu¿s sociology of taste, this publication engages with the opportunities and problems involved in understanding the social value and the cultural dispositions of taste ¿after Bourdieu¿. It does so at a moment when the practice of taste is being radically changed by the global expansion of cultural choices, and the emergence of deploying impersonal algorithms as solutions to cultural and creative decision-making. (shrink)

This paper discusses corporate entanglement, impactfulness and responsibility in the Anthropocene, amidst events and conditions that ‘uncontain’ time. It takes its direction of travel from artist Brian Jungen’s ‘Cetology’ (2002), a whalebone sculpture made out of cut-up plastic garden chairs, which conjoins the times of earth and world history, as it hangs in the air of the art gallery, ‘as if’ exhibited in the natural history museum. The paper relates ‘Cetology’s’ engagement with natural history, time, and commodification to matters (...) of corporate entanglement and responsibility within company law and governance. Problems with understanding the comparable imprint of large and multinational companies on matters, places, and communities are identified, after the domination of corporate legal frameworks over nature and the stability and perfection of economic incentives at law. The reading of this (critical-legal) situation is developed through theory and engagement with materialist and critical thinkers, who unite in their concern with distributed human–nature relations and the ‘concreteness’ that attends collisions in time, ruin and affect. Walter Benjamin and Theodor Adorno’s writings are central to this analysis, and strengthen the commentary on ‘natural history’ themes curated by Jungen. The paper contemplates how times’ uncontainment might invoke a change in expectation and method for the company law field, assigning contingency to the corporation and provoking a new mode of reflection about corporate entanglement and responsibility at law. (shrink)

ArgumentIn the 1920s and 1930s, the growing importance of habitat dioramas at the American Museum of Natural History forced staff members to reconsider what counted as scientific practice and knowledge. Exhibit-makers pressed for more scientific authority, citing their extensive and direct observations of nature in the field. The museum's curators, concerned about their own eroding status, dismissed this bid for authority, declaring that older traditions of lay observation were no longer legitimate. By the 1940s, changes inside and (...) outside the museum had destroyed any lingering notions that what exhibit-makers garnered from observing raw materials constituted scientific knowledge. (shrink)

Paul Strand defined twentieth-century American photography in a prolific career that spanned more than sixty years. His photographs explore the abstract and dynamic qualities found in the natural world, search for humanity in portraits of people and places, and document the experience of life itself. Highlighting the development of the photographer's aesthetic from his early encounters with Cubism to his humanistic depictions of people throughout the world, this book presents nearly forty years of Strand's wide-ranging and powerful work. In Focus: (...) Paul Strand is published to coincide with an exhibition of the photographer's work at the Getty Museum in Los Angeles from May 10 through September 4, 2005. Commentaries on the pictures, along with an introduction and chronology of Strand's life, are provided by Anne Lyden, associate curator of photographs at the Getty Museum. The book also includes an edited transcript of a colloquium on Strand's work that incorporates Lyden's contributions along with those of five other participants: David Featherstone, a freelance writer and editor; Weston Naef, curator of photographs at the Getty Museum; Naomi Rosenblum, independent scholar; Mark Ruwedel, photographer and professor of photography at California State University, Long Beach; and Alan Trachtenberg, Neil Gray Jr. Professor Emeritus of English and American Studies at Yale University. (shrink)

In Fall 1939, as war engulfed Europe, the author of one of the most influential texts on genetics and evolution, Theodosius Dobzhansky, wrote a letter to curator of insects at the United States National Museum, Edward Albert Chapin. Dobzhansky wished to know what Chapin thought about his pursuing some taxonomic work on an old fascination of his: lady-bird beetles. This paper examines the resulting correspondence as a window into Dobzhansky’s attitude toward taxonomy, the different pressures on geneticists and taxonomists (...) when wrestling with how to name species, the relation between biological theory and taxonomic practice, and how claims regarding human races may have motivated Dobzhansky’s continued interest in the work of beetle taxonomists. In doing so, this article builds on the work of Paul Farber and others to highlight the importance of including museums, taxonomy, and the naturalist tradition within the history of twentieth-century biology. (shrink)

SummaryRecently discovered documents have revealed the background to a letter published in The Darwin Correspondence, dated 21 February 1838 and sent to Charles Darwin and six others from John George Children of the British Museum. It concerned a complaint made by Edward Blyth about George Robert Gray, assistant in charge of birds at the museum. A response by Darwin, and 14 other referees, supported Gray's defence of his character, and the complaint was dismissed. It is concluded that Children (...) investigated this complaint so vigorously because of recent criticism of the natural history collections by witnesses to the Select Committee of the House of Commons on the British Museum (1836–37), who sought to increase the involvement and influence of career scientists in the overseeing of the collections. Children may have also been sensitive to criticism because he was a controversial appointee. (shrink)

In Focus: Laszlo Moholy-Nagy reproduces almost fifty of the artist's photographs, with commentaries on each by katherine Ware, an Assistant Curator in the Musuem's Department of Photographs. Included as well is an edited transcript of a colloquim on Moholy-Nagy's work, with comments by Thomas Barrow, Jeannine Fiedler, Charles Hagen, Hattula Moholy-Nagy, Weston Naef, Leland Rice, and Katherine Ware. A chronology of significant events in the artist's life is also provided.

In lieu of an abstract, here is a brief excerpt of the content:When Little Girls Become Junior Connoisseurs:A Cautionary Tale of Art Museum Education in the HyperrealMelinda M. Mayer (bio)Introducing the TaleA young girl about eleven years old appeared on the TV screen. She stood in an art museum expounding upon the painting hanging behind her. She talked about the artist and what the image portrayed. With an air of elitist prissiness that suited the museum environment, the (...) girl delivered her presentation to a group of schoolmates. As I and the other art museum educators assembled in the conference room where the video was shown learned, the girl had participated in a program at a prominent art museum in which students from her school came to the museum many times during the school year. This repeat-visit program culminated with these youngsters demonstrating what they learned about art by giving a talk on a single artwork to friends, family, or other classmates. The girl's recitation of art historically correct information was impressive. She sounded just like a junior art historian. Yet, something was missing. The little girl appeared to copy the style of art historical talk more than its content. I turned to the colleague sitting next to me and wondered, "Did that girl learn how to make meaning or how to talk like a curator?"Despite the several years that have passed since the conference, the image of that little girl lingers in my mind. A repeat-visit school program is what an art museum educator working with school tours desires.1 All an art museum educator can hope to impart on a one-shot tour is a simple exposure to art and the museum. Hopefully, that one encounter will result in a lifelong appreciation of art and art museums, but that is a tall order for one field trip. Repeat-visit programs, by contrast, allow knowledge and skills related to art to be presented in the school and museum and reinforced in subsequent sessions. Students can learn to meaningfully interpret the content [End Page 48] of works of art as well as make personal connections with them.The girl in the video, however, did not appear to be engaged in meaning-making. No hint that the painting had metaphorically come off of the museum wall and moved into her life experience appeared in the girl's presentation. Instead, she successfully imitated the manner of an art historian.In the essay "The Precession of Simulacra," the French sociologist Jean Baudrillard theorizes that reality or meaning no longer exist.2 Like the Moebus strip, which when split generates a duplicate of itself, what we experience as reality in this increasingly mediated age in which we live is no more than the repeated circulation of models or simulacra. Rather than models emerging out of real phenomena or originals, they beget themselves—models precede models. Any notion of reality implodes in the circulation of these simulations. Reality becomes what Baudrillard calls the hyperreal—simulation generating simulation. What does this imply for visual art? Interpretation of meaning in artworks would not reveal some represented truth of human experience; instead it would be the repetition of interpretive forms masking that there is no reality to represent. The talk by the little girl in the video indicated that art museum education, at least in that program, had become the perpetuation of a model of inquiry. Rather than making meaning, the girl reproduced the aesthetics of art history interpretation. Even under the ideal circumstances of a repeat-visit school program, the girl became the perfect model of a petite connoisseur.Although the video depicts one little girl in one art museum program, is there not a cautionary tale here for the field of art museum education?3 When visitors to art museums, including children on school field trips, participate in educational programs, are they engaging in meaning-making or an experience in the hyperreal? In theory art museum educators espouse facilitating meaning-making as their mission; however, in practice are they falling into a vortex of recycling the models of art historical interpretation they assimilated during their own education? Do they replicate the form of the model rather than the substance of interpretation... (shrink)

This article investigates how national histories marred by racial conflict can be translated into narratives of group identity formation. I study the role of “identity-driven” museums in converting American’s racial past into a metanarrative of black identity from subjugation to citizenship. Drawing on a thick description of exhibitions at 15 museums, interviews with curators and directors, museum documents, and newspaper articles, I use the “political economy of memory” as a framework to explain how ideological and material processes intersect (...) in the production of exhibitions. I show that in addition to struggles over the truth and interpretive styles, more prosaic issues of funding, attendance, and institutional capacity-building hve an impact on representational selectivities. I explain how these issues affect black museums operating during the civil rights and post-civil rights eras. I consider the motivations and consequences of “remembering” national histories of violence and intolerance through the prism of group identity formation. (shrink)

This book focuses on externalist approaches to art. It is the first fruit of a workshop held in Milan in September 2009, where leading scholars in the emerging field of psychology of art compared their different approaches using a neutral language and discussing freely their goals. The event threw up common grounds for future research activities. First, there is a considerable interest in using cognitive and neural inspired techniques to help art historians, museum curators, art archiving, art preservation. (...) Secondly, cognitive scientists and neuroscientists are rather open to using art as a special way of accessing the structures of the mind. Third, there are artists who explicitly draw inspiration out of current research on various aspects of the mind. Fourth, during the workshop, a converging methodological paradigm emerged around which more specific efforts could be encouraged. (shrink)