The authors take a three-pronged approach. Part One ranges from curiosity cabinets to virtual websites to offer a history of ethnographic and art museums and look at their organization and methods of reaching out to the public. In the second part, the authors examine museums as ecosystems and communities within communities, and they use semiotic methods to analyze images, signs, and symbols drawn from the experiences of curators and artists. The third part introduces innovative strategies for displaying, disseminating, and reclaiming African art. The authors also propose how to reinterpret the art inside and outside the museum and show ways of remixing the results.
Drawing on extensive conversations with curators, collectors, and artists, African Art Reframed is an essential guide to building new exchanges and connections in the dynamic worlds of African and global art.
Decolonizing German and European History at the Museum examines efforts by European museums to investigate colonialism as part of an unprocessed past, confront its presence, and urge repair. A flurry of exhibitions and the overhaul of numerous large museums in the last decade signal that an emergent colonial memory culture is now reaching broader publics. Exhibitions pose the question of what Europeans owe to those they colonized.
Decolonizing German and European History at the Museum shows how museums can help visitors mourn historic violence and identify the contemporary agents, beneficiaries, victims, survivors, and resisters of colonial presence. At the same time, the book treats the museum as part of the racialized power relations that activists, academics, and artists have long protested against. This book asks whether museums have made the dream of activists, academics, and artists to build equitable futures more acceptable and more durable—or whether in packaging that dream for general audiences they curtail it. Confronting colonial violence, this book argues, pushes Europeans to face the histories of racism and urges them to envision antiracism at the global scale.
Curators make many decisions when they build collections or design exhibitions, plotting a passage of discovery that also tells an essential story. Collecting captures the past in a way useful to the present and the future. Exhibits play to our senses and orchestrate our impressions, balancing presentation and preservation, information and emotion. Curators consider visitors’ interactions with objects and with one another, how our bodies move through displays, how our eyes grasp objects, how we learn and how we feel. Inside the Lost Museum documents the work museums do and suggests ways these institutions can enrich the educational and aesthetic experience of their visitors.
Woven throughout Inside the Lost Museum is the story of the Jenks Museum at Brown University, a nineteenth-century display of natural history, anthropology, and curiosities that disappeared a century ago. The Jenks Museum’s past, and a recent effort by artist Mark Dion, Steven Lubar, and their students to reimagine it as art and history, serve as a framework for exploring the long record of museums’ usefulness and service.
Museum lovers know that energy and mystery run through every collection and exhibition. Lubar explains work behind the scenes—collecting, preserving, displaying, and using art and artifacts in teaching, research, and community-building—through historical and contemporary examples. Inside the Lost Museum speaks to the hunt, the find, and the reveal that make curating and visiting exhibitions and using collections such a rewarding and vital pursuit.
Whether contrasting the transformation of Africa’s oldest museum, the South Africa Museum, with one of its newest, the Lwandle Migrant Labor Museum; offering an interpretation of the audio guide at the Guggenheim Bilbao; reflecting on the relative paucity of art museums in Peru and Cambodia; considering representations of slavery in the United States and Ghana; or meditating on the ramifications of an exhibition of Australian aboriginal art at the Asia Society in New York City, the contributors highlight the frictions, contradictions, and collaborations emerging in museums and heritage sites around the world. The volume opens with an extensive introductory essay by Ivan Karp and Corinne A. Kratz, leading scholars in museum and heritage studies.
Contributors. Tony Bennett, David Bunn, Gustavo Buntinx, Cuauhtémoc Camarena, Andrea Fraser, Martin Hall, Ivan Karp, Barbara Kirshenblatt-Gimblett, Corinne A. Kratz, Christine Mullen Kreamer, Joseph Masco, Teresa Morales, Howard Morphy, Ingrid Muan, Fred Myers, Ciraj Rassool, Vicente Razo, Fath Davis Ruffins, Lynn Szwaja, Krista A. Thompson, Leslie Witz, Tomás Ybarra-Frausto
The use of cars and trucks over the past century has remade American geography—pushing big cities ever outward toward suburbanization, spurring the growth of some small towns while hastening the decline of others, and spawning a new kind of commercial landscape marked by gas stations, drive-in restaurants, motels, tourist attractions, and countless other retail entities that express our national love affair with the open road. By its very nature, this landscape is ever changing, indeed ephemeral. What is new quickly becomes old and is soon forgotten.
In this absorbing book, John Jakle and Keith Sculle ponder how “Roadside America” might be remembered, especially since so little physical evidence of its earliest years survives. In straightforward and lively prose, supplemented by copious illustrations—historic and modern photographs, advertising postcards, cartoons, roadmaps—they survey the ways in which automobility has transformed life in the United States. Asking how we might best commemorate and preserve this part of our past—which has been so vital economically and politically, so significant to the cultural aspirations of ordinary Americans, yet so often ignored by scholars who dismiss it as kitsch—they propose the development of an actual outdoor museum that would treat seriously the themes of our roadside history.
Certainly, museums have been created for frontier pioneering, the rise of commercial agriculture, and the coming of water- and steam-powered industrialization and transportation, especially the railroad. Is now not the time, the authors ask, for a museum forcefully exploring the automobile’s emergence and the changes it has brought to place and landscape? Such a museum need not deny the nostalgic appeal of roadsides past, but if done properly, it could also tell us much about what the authors describe as “the most important kind of place yet devised in the American experience.”
John A. Jakle is Emeritus Professor of Geography at the University of Illinois, Urbana-Champaign. Keith A. Sculle is the former head of research and education at the Illinois Historic Preservation Agency. They have coauthored such books as America’s Main Street Hotels: Transiency and Community in the Early Automobile Age; Motoring: The Highway Experience in America; Fast Food: Roadside Restaurants in the Automobile Age; and The Gas Station in America.
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