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"Museum exhibits -- Historiography"
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Re-Imagining the Museum
Re-Imagining the Museum presents new interpretations of museum history and contemporary museum practices.
Through a range of case studies from the UK, North America and Australia, Andrea Witcomb moves away from the idea that museums are always 'conservative' to suggest they have a long history of engaging with popular culture and addressing a variety of audiences. She argues that museums are key mediators between high and popular culture and between government, media practitioners, cultural policy-makers and museums professionals.
Analyzing links between museums and the media, looking at the role of museums in cities, and discussing the effects on museums of cultural policies, Re-Imagining the Museum presents a vital tool in the study of museum practice.
eBook
Excavating Modernity
The cultural and material legacies of the Roman Republic and Empire in evidence throughout Rome have made it the \"Eternal City.\" Too often, however, this patrimony has caused Rome to be seen as static and antique, insulated from the transformations of the modern world. In Excavating Modernity, Joshua Arthurs dramatically revises this perception, arguing that as both place and idea, Rome was strongly shaped by a radical vision of modernity imposed by Mussolini's regime between the two world wars.
Italian Fascism's appropriation of the Roman past-the idea of Rome, or romanità- encapsulated the Fascist virtues of discipline, hierarchy, and order; the Fascist \"new man\" was modeled on the Roman legionary, the epitome of the virile citizen-soldier. This vision of modernity also transcended Italy's borders, with the Roman Empire providing a foundation for Fascism's own vision of Mediterranean domination and a European New Order. At the same time, romanità also served as a vocabulary of anxiety about modernity. Fears of population decline, racial degeneration and revolution were mapped onto the barbarian invasions and the fall of Rome. Offering a critical assessment of romanità and its effects, Arthurs explores the ways in which academics, officials, and ideologues approached Rome not as a site of distant glories but as a blueprint for contemporary life, a source of dynamic values to shape the present and future.
eBook
A Pedagogy of Witnessing
This outstanding comparative study on the curating of \"difficult knowledge\" focuses on two museum exhibitions that presented the same lynching photographs. Through a detailed description of the exhibitions and drawing on interviews with museum staff and visitor comments, Roger I. Simon explores the affective challenges to thought that lie behind the different curatorial frameworks and how viewers' comments on the exhibitions perform a particular conversation about race in America. He then extends the discussion to include contrasting exhibitions of photographs of atrocities committed by the German army on the Eastern Front during World War II, as well as to photographs taken at the Khmer Rouge S-21 torture and killing center. With an insightful blending of theoretical and qualitative analysis, Simon proposes new conceptualizations for a contemporary public pedagogy dedicated to bearing witness to the documents of racism.
eBook
Public History: Quantum Computing as Imagined Infrastructure
This review essay examines an art exhibition that envisions the future infrastructure of quantum computing and the sociopolitical and aesthetic visions it might bring about. Visitors are encouraged to reflect on past concepts of computing and the transformative power of technology. The exhibit tackles the challenge that computer-based infrastructures—the infrastructure of infrastructures—poses for the historiography of computing. This review places the exhibit's perspective of quantum computing infrastructures within the broader context of computing and information history.
Journal Article
A Visceral and Temporal Remix: Performing Reza Abdoh’s Archives
This essay takes as its central concern the historical transmission of Reza Abdoh’s performance works via their circulation in the artist’s retrospective exhibit at the KW Institute for Contemporary Art in 2019. I analyze two interlaced defining features in the KW exhibition—archival remixing and viscerality—that the curators used to honor Abdoh’s artistic legacy. Focusing on the exhibit as a medium of performance historiography in diaspora, this essay argues that the multimedia installation of Abdoh’s archival work in the exhibition format utilized performance archives to create a haptic and visceral site of historiography and memory.
Journal Article
European museology and colonial concord: Italy at the 1934 Expo du Sahara in Paris
This article assesses Italy's participation in the Expo du Sahara in Paris in 1934, placing it within the framework of European colonial culture, exhibitions, and international relations during the 1930s. Hitherto, the Expo du Sahara has been largely ignored by historiography, but it offers important insights into Italo-French relations in the years immediately preceding Italy's invasion of Ethiopia, as well as the ways in which Fascist Italy sought national and international legitimacy through the medium of exhibitions. The Paris exhibition, staged by the European powers after years of clashes, was also a physical representation of the so-called ‘colonial concord’ and ‘peaceful’ partition of North Africa, processes in which Italy's role was fundamental.
Journal Article
Staging Global Theatre History in the Museum: Carl Niessen and the Draft of the Reichstheaterinstitut (1943)
The theatre collection of Carl Niessen (1890–1969), professor of theatre studies in Cologne, contains a draft of a comprehensive research institution for theatre studies (Reichstheaterinstitut) from 1943. This draft consists of a blueprint of a museum of global theatre history and a written outline. In the blueprint, the objects and documents were presented in a sequential narrative so that visitors would be able to explore a global theatre history through the embodied practice of walking through a setting of interrelated theatre concepts. Drawing on Diana Taylor's distinction between the archive and the repertoire, I argue that, although never realized as planned, this blueprint conceptualized Niessen's ideas of how to think about, exhibit, present and experience theatre history through material traces, as an anthropological constant – a conditio humana varying in time and space.
Journal Article
The Buades Gallery: A Tube of Oil Paint Open to the World Mercedes Buades and Her Support for Spanish Conceptualism, 1973–1978
The Buades Gallery (1973–2003) was not merely a commercial space in Madrid. In the history of art in Spain, it served as a professional and political node for Spanish conceptualism, an art form which, due to its idiosyncrasies, required its own channels of distribution. This article seeks to examine the trajectory of Mercedes Buades in alignment with this movement, re-evaluating her role from a feminist perspective and highlighting the importance of certain agents who have traditionally been invisibilised. To this end, a theoretical approach is adopted, following the sociology of art and the social history of art, paying particular attention to the contributions of Enrico Castelnuovo, Pierre Bourdieu and Núria Peist. These frameworks enable an analysis of the role of the gallerist as a structuring agent within the artistic field, capable of generating symbolic capital and establishing dynamics of production, circulation and consumption in the context of post-Franco Spain, a country that lacked a consolidated museum infrastructure at the time. Even so, Mercedes Buades established a model of gallery practice that, beyond its commercial dimension, contributed decisively to the symbolic configuration of contemporary art in Spain and formed part of a network of artistic visibility that promoted experimental art.
Journal Article
Johanna Hofmann-Stirnemann. The first female museum director in Germany
Art history knows many muses, fewer female artists, some female patrons or gallery owners, but there are only a few prominent female art historians in Germany in the first half of the twentieth century. Most recently, the volume 'Women Art Historians 1910-1980', ('Kunsthistorikerinnen 1910-1980') edited by K. Lee Chichester and Brigitte Solch, was devoted to 'source texts by pioneering women in art history.'1 Johanna 'Hanna' Hofmann-Stirnemann (1899-1996), who was appointed the first woman museum director in Germany in 1930, was not included in the text selection. However, Stirnemann was a pioneer in the male-dominated museum landscape. The following text will show her impressive career.
Journal Article