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The Things about Museums constitutes a unique, highly diverse
collection of essays unprecedented in existing books in either
museum and heritage studies or material culture studies. Taking
varied perspectives and presenting a range of case studies, the
chapters all address objects in the context of museums, galleries
and/or the heritage sector more broadly. Specifically, the book
deals with how objects are constructed in museums, the ways in
which visitors may directly experience those objects, how objects
are utilised within particular representational strategies and
forms, and the challenges and opportunities presented by using
objects to communicate difficult and contested matters. Topics and
approaches examined in the book are diverse, but include the
objectification of natural history specimens and museum registers;
materiality, immateriality, transience and absence; subject/object
boundaries; sensory, phenomenological perspectives; the
museumisation of objects and collections; and the dangers inherent
in assuming that objects, interpretation and heritage are 'good'
for us.
The collection, interpretation and display of art from the People's
Republic of China, and particularly the art of the Cultural
Revolution, have been problematic for museums. These objects
challenge our perception of 'Chineseness' and their style, content
and the means of their production question accepted notions of how
we perceive art. This book links art history, museology and visual
culture studies to examine how museums have attempted to reveal,
discuss and resolve some of these issues. Amy Jane Barnes addresses
a series of related issues associated with collection and display:
how museums deal with difficult and controversial subjects; the
role they play in mediating between the object and the audience;
the role of the Other in the creation of Self and national
identities; the nature, role and function of art in society; the
museum as image-maker; the impact of communism (and Maoism) on the
cultural history of the twentieth-century; and the appropriation of
communist visual iconography. This book will be of interest to
researchers and students of museology, visual and cultural studies
as well as scholars of Chinese and revolutionary art.
Narrating Objects, Collecting Stories is a wide-ranging collection
of essays exploring the stories that can be told by and about
objects and those who choose to collect them. Examining objects and
collecting in different historical, social and institutional
contexts, an international, interdisciplinary group of authors
consider the meanings and values with which objects are imputed and
the processes and implications of collecting. This includes
considering the entanglement of objects and collectors in webs of
social relations, value and change, object biographies and the
sometimes conflicting stories that things come to represent, and
the strategies used to reconstruct and retell the narratives of
objects. The book includes considerations of individual and groups
of objects, such as domestic interiors, novelty tea-pots, Scottish
stone monuments, African ironworking, a postcolonial painting and
memorials to those killed on the roads in Australia. It also
contains chapters dealing with particular collectors - including
Charles Bell and Beatrix Potter - and representational techniques.
Narrating Objects, Collecting Stories is a wide-ranging collection
of essays exploring the stories that can be told by and about
objects and those who choose to collect them. Examining objects and
collecting in different historical, social and institutional
contexts, an international, interdisciplinary group of authors
consider the meanings and values with which objects are imputed and
the processes and implications of collecting. This includes
considering the entanglement of objects and collectors in webs of
social relations, value and change, object biographies and the
sometimes conflicting stories that things come to represent, and
the strategies used to reconstruct and retell the narratives of
objects. The book includes considerations of individual and groups
of objects, such as domestic interiors, novelty tea-pots, Scottish
stone monuments, African ironworking, a postcolonial painting and
memorials to those killed on the roads in Australia. It also
contains chapters dealing with particular collectors - including
Charles Bell and Beatrix Potter - and representational techniques.
The collection, interpretation and display of art from the People's
Republic of China, and particularly the art of the Cultural
Revolution, have been problematic for museums. These objects
challenge our perception of 'Chineseness' and their style, content
and the means of their production question accepted notions of how
we perceive art. This book links art history, museology and visual
culture studies to examine how museums have attempted to reveal,
discuss and resolve some of these issues. Amy Jane Barnes addresses
a series of related issues associated with collection and display:
how museums deal with difficult and controversial subjects; the
role they play in mediating between the object and the audience;
the role of the Other in the creation of Self and national
identities; the nature, role and function of art in society; the
museum as image-maker; the impact of communism (and Maoism) on the
cultural history of the twentieth-century; and the appropriation of
communist visual iconography. This book will be of interest to
researchers and students of museology, visual and cultural studies
as well as scholars of Chinese and revolutionary art.
The Things about Museums constitutes a unique, highly diverse
collection of essays unprecedented in existing books in either
museum and heritage studies or material culture studies. Taking
varied perspectives and presenting a range of case studies, the
chapters all address objects in the context of museums, galleries
and/or the heritage sector more broadly. Specifically, the book
deals with how objects are constructed in museums, the ways in
which visitors may directly experience those objects, how objects
are utilised within particular representational strategies and
forms, and the challenges and opportunities presented by using
objects to communicate difficult and contested matters. Topics and
approaches examined in the book are diverse, but include the
objectification of natural history specimens and museum registers;
materiality, immateriality, transience and absence; subject/object
boundaries; sensory, phenomenological perspectives; the
museumisation of objects and collections; and the dangers inherent
in assuming that objects, interpretation and heritage are 'good'
for us.
Heritage's revival as a respected academic subject has, in part,
resulted from an increased awareness and understanding of
indigenous rights and non-Western philosophies and practices, and a
growing respect for the intangible. Heritage has, thus far, focused
on management, tourism and the traditionally 'heritage-minded'
disciplines, such as archaeology, geography, and social and
cultural theory. Widening the scope of international heritage
studies, A Museum Studies Approach to Heritage explores heritage
through new areas of knowledge, including emotion and affect, the
politics of dissent, migration, and intercultural and participatory
dimensions of heritage. Drawing on a range of disciplines and the
best from established sources, the book includes writing not
typically recognised as 'heritage', but which, nevertheless, makes
a valuable contribution to the debate about what heritage is, what
it can do, and how it works and for whom. Including heritage
perspectives from beyond the professional sphere, the book serves
as a reminder that heritage is not just an academic concern, but a
deeply felt and keenly valued public and private practice. This
blending of traditional topics and emerging trends, established
theory and concepts from other disciplines offers readers
international views of the past and future of this growing field. A
Museum Studies Approach to Heritage offers a wider, more current
and more inclusive overview of issues and practices in heritage and
its intersection with museums. As such, the book will be essential
reading for postgraduate students of heritage and museum studies.
It will also be of great interest to academics, practitioners and
anyone else who is interested in how we conceptualise and use the
past.
Heritage's revival as a respected academic subject has, in part,
resulted from an increased awareness and understanding of
indigenous rights and non-Western philosophies and practices, and a
growing respect for the intangible. Heritage has, thus far, focused
on management, tourism and the traditionally 'heritage-minded'
disciplines, such as archaeology, geography, and social and
cultural theory. Widening the scope of international heritage
studies, A Museum Studies Approach to Heritage explores heritage
through new areas of knowledge, including emotion and affect, the
politics of dissent, migration, and intercultural and participatory
dimensions of heritage. Drawing on a range of disciplines and the
best from established sources, the book includes writing not
typically recognised as 'heritage', but which, nevertheless, makes
a valuable contribution to the debate about what heritage is, what
it can do, and how it works and for whom. Including heritage
perspectives from beyond the professional sphere, the book serves
as a reminder that heritage is not just an academic concern, but a
deeply felt and keenly valued public and private practice. This
blending of traditional topics and emerging trends, established
theory and concepts from other disciplines offers readers
international views of the past and future of this growing field. A
Museum Studies Approach to Heritage offers a wider, more current
and more inclusive overview of issues and practices in heritage and
its intersection with museums. As such, the book will be essential
reading for postgraduate students of heritage and museum studies.
It will also be of great interest to academics, practitioners and
anyone else who is interested in how we conceptualise and use the
past.
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