Javier Rodriguez-Robles
- Published in print:
- 2003
- Published Online:
- March 2012
- ISBN:
- 9780520238183
- eISBN:
- 9780520930001
- Item type:
- book
- Publisher:
- University of California Press
- DOI:
- 10.1525/california/9780520238183.001.0001
- Subject:
- History, History of Science, Technology, and Medicine
The Museum of Vertebrate Zoology (MVZ), located on the campus of the University of California, Berkeley, is a leading center of herpetological research in the United States. This book offers a brief ...
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The Museum of Vertebrate Zoology (MVZ), located on the campus of the University of California, Berkeley, is a leading center of herpetological research in the United States. This book offers a brief account of the principal figures associated with the collection and of the most important events in the history of herpetology in the MVZ during its first 93 years, and lists all type specimens of recent amphibians and nonavian reptiles in the collection. Although the MVZ has existed since 1908, until 1945 there was no formal curator for the collection of amphibians and nonavian reptiles. Since that time Robert C. Stebbins, David B. Wake, Harry W. Greene, Javier A. Rodrìguez-Robles (in an interim capacity), and Craig Moritz have served in that position. The herpetological collection of the MVZ was begun on March 13, 1909, with a collection of approximately 430 specimens from southern California and, as of December 31, 2001, contained 232,254 specimens. Taxonomically, the collection is strongest in salamanders, accounting for 99,176 specimens, followed by “lizards” (squamate reptiles other than snakes and amphisbaenians, 63,439), frogs (40,563), snakes (24,937), turtles (2,643), caecilians (979), amphisbaenians (451), crocodilians (63), and tuataras (3). Whereas the collection's emphasis historically has been on the western United States, and on California in particular, representatives of taxa from many other parts of the world are present. The 1,765 type specimens in the MVZ comprise 120 holotypes, three neotypes, three syntypes, and 1,639 paratopotypes and paratypes; 83 of the holotypes were originally described as full species. Of the 196 amphibian and nonavian reptilian taxa represented by type material, most were collected in México (63) and California, USA (54).Less
The Museum of Vertebrate Zoology (MVZ), located on the campus of the University of California, Berkeley, is a leading center of herpetological research in the United States. This book offers a brief account of the principal figures associated with the collection and of the most important events in the history of herpetology in the MVZ during its first 93 years, and lists all type specimens of recent amphibians and nonavian reptiles in the collection. Although the MVZ has existed since 1908, until 1945 there was no formal curator for the collection of amphibians and nonavian reptiles. Since that time Robert C. Stebbins, David B. Wake, Harry W. Greene, Javier A. Rodrìguez-Robles (in an interim capacity), and Craig Moritz have served in that position. The herpetological collection of the MVZ was begun on March 13, 1909, with a collection of approximately 430 specimens from southern California and, as of December 31, 2001, contained 232,254 specimens. Taxonomically, the collection is strongest in salamanders, accounting for 99,176 specimens, followed by “lizards” (squamate reptiles other than snakes and amphisbaenians, 63,439), frogs (40,563), snakes (24,937), turtles (2,643), caecilians (979), amphisbaenians (451), crocodilians (63), and tuataras (3). Whereas the collection's emphasis historically has been on the western United States, and on California in particular, representatives of taxa from many other parts of the world are present. The 1,765 type specimens in the MVZ comprise 120 holotypes, three neotypes, three syntypes, and 1,639 paratopotypes and paratypes; 83 of the holotypes were originally described as full species. Of the 196 amphibian and nonavian reptilian taxa represented by type material, most were collected in México (63) and California, USA (54).
Philipp Schorch and Conal McCarthy (eds)
- Published in print:
- 2019
- Published Online:
- May 2019
- ISBN:
- 9781526118196
- eISBN:
- 9781526142016
- Item type:
- book
- Publisher:
- Manchester University Press
- DOI:
- 10.7228/manchester/9781526118196.001.0001
- Subject:
- Anthropology, Anthropology, Global
What is the future of curatorial practice? How can the relationships between Indigenous people in the Pacific, collections in Euro-American institutions, and curatorial knowledge in museums globally ...
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What is the future of curatorial practice? How can the relationships between Indigenous people in the Pacific, collections in Euro-American institutions, and curatorial knowledge in museums globally be (re)conceptualised in reciprocal and symmetrical ways? Is there an ideal model, a ‘curatopia,’ whether in the form of a utopia or dystopia, which can enable the reinvention of ethnographic museums and address their difficult colonial legacies? This volume addresses these questions by considering the current state of the play in curatorial practice, reviewing the different models and approaches operating in different museums, galleries and cultural organisations around the world, and debating the emerging concerns, challenges, and opportunities. The subject areas range over native and tribal cultures, anthropology, art, history, migration and settler culture, among others. Topics covered include: contemporary curatorial theory, new museum trends, models and paradigms, the state of research and scholarship, the impact of new media, and current issues such as curatorial leadership, collecting and collection access and use, exhibition development, and community engagement. The volume is international in scope and covers three broad regions—Europe, North America and the Pacific. The contributors are leading and emerging scholars and practitioners in their respective fields, all of whom have worked in and with universities and museums, and are therefore perfectly placed to reshape the dialogue between academia and the professional museum world.Less
What is the future of curatorial practice? How can the relationships between Indigenous people in the Pacific, collections in Euro-American institutions, and curatorial knowledge in museums globally be (re)conceptualised in reciprocal and symmetrical ways? Is there an ideal model, a ‘curatopia,’ whether in the form of a utopia or dystopia, which can enable the reinvention of ethnographic museums and address their difficult colonial legacies? This volume addresses these questions by considering the current state of the play in curatorial practice, reviewing the different models and approaches operating in different museums, galleries and cultural organisations around the world, and debating the emerging concerns, challenges, and opportunities. The subject areas range over native and tribal cultures, anthropology, art, history, migration and settler culture, among others. Topics covered include: contemporary curatorial theory, new museum trends, models and paradigms, the state of research and scholarship, the impact of new media, and current issues such as curatorial leadership, collecting and collection access and use, exhibition development, and community engagement. The volume is international in scope and covers three broad regions—Europe, North America and the Pacific. The contributors are leading and emerging scholars and practitioners in their respective fields, all of whom have worked in and with universities and museums, and are therefore perfectly placed to reshape the dialogue between academia and the professional museum world.
Eileen Lacey (ed.)
- Published in print:
- 2006
- Published Online:
- March 2012
- ISBN:
- 9780520098534
- eISBN:
- 9780520916098
- Item type:
- book
- Publisher:
- University of California Press
- DOI:
- 10.1525/california/9780520098534.001.0001
- Subject:
- Biology, Animal Biology
This book combines a series of research papers with more informal recollections of James L. Patton, who served as Curator of Mammals in the Museum of Vertebrate Zoology and as Professor of ...
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This book combines a series of research papers with more informal recollections of James L. Patton, who served as Curator of Mammals in the Museum of Vertebrate Zoology and as Professor of Integrative Biology at the University of California, Berkeley, from 1969 until 2001. As a curator and a member of the Berkeley faculty, Patton made an indelible mark on vertebrate evolutionary biology. In addition to significantly advancing studies of mammalian evolutionary genetics, systematics, and phylogeography, he was instrumental in shaping the careers of vertebrate biologists throughout the Americas. This book brings to life both the career and personality of this evolutionary biologist.Less
This book combines a series of research papers with more informal recollections of James L. Patton, who served as Curator of Mammals in the Museum of Vertebrate Zoology and as Professor of Integrative Biology at the University of California, Berkeley, from 1969 until 2001. As a curator and a member of the Berkeley faculty, Patton made an indelible mark on vertebrate evolutionary biology. In addition to significantly advancing studies of mammalian evolutionary genetics, systematics, and phylogeography, he was instrumental in shaping the careers of vertebrate biologists throughout the Americas. This book brings to life both the career and personality of this evolutionary biologist.
Olivia Cadaval, Sojin Kim, and Diana Baird N'Diaye (eds)
- Published in print:
- 2016
- Published Online:
- September 2017
- ISBN:
- 9781496805980
- eISBN:
- 9781496806024
- Item type:
- book
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781496805980.001.0001
- Subject:
- Society and Culture, Cultural Studies
Since its origins in 1967, The Smithsonian Folklife Festival has gained national and international recognition as a model for the research and public presentation of living cultural heritage and the ...
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Since its origins in 1967, The Smithsonian Folklife Festival has gained national and international recognition as a model for the research and public presentation of living cultural heritage and the advocacy of cultural democracy. Festival curators play a major role in interpreting Festival principles and shaping its practices.
Curatorial Conversations brings together for the first time in one volume the combined expertise of Festival curatorial staff—past and present—in examining the Center for Folklife and Cultural Heritage’s cultural heritage representation practices and their critical implications for issues of intangible cultural heritage policy, cultural pluralism, and identity.
This volume represents the first concerted project by Festival staff curators to systematically examine institutional principles and philosophical underpinnings and claims as they have evolved over time, and to address broader debates on cultural representation from their own experiences at the Festival.Less
Since its origins in 1967, The Smithsonian Folklife Festival has gained national and international recognition as a model for the research and public presentation of living cultural heritage and the advocacy of cultural democracy. Festival curators play a major role in interpreting Festival principles and shaping its practices.
Curatorial Conversations brings together for the first time in one volume the combined expertise of Festival curatorial staff—past and present—in examining the Center for Folklife and Cultural Heritage’s cultural heritage representation practices and their critical implications for issues of intangible cultural heritage policy, cultural pluralism, and identity.
This volume represents the first concerted project by Festival staff curators to systematically examine institutional principles and philosophical underpinnings and claims as they have evolved over time, and to address broader debates on cultural representation from their own experiences at the Festival.
George W. Houston
- Published in print:
- 2014
- Published Online:
- May 2015
- ISBN:
- 9781469617800
- eISBN:
- 9781469617824
- Item type:
- book
- Publisher:
- University of North Carolina Press
- DOI:
- 10.5149/northcarolina/9781469617800.001.0001
- Subject:
- History, Ancient History / Archaeology
Libraries of the ancient world have long held a space in the public imagination. The library at Alexandria, even during antiquity, was nearly legendary. Until now there has been relatively little ...
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Libraries of the ancient world have long held a space in the public imagination. The library at Alexandria, even during antiquity, was nearly legendary. Until now there has been relatively little research done to learn what was inside these libraries, who wrote the book rolls, who maintained and protected the holdings, and how those ancient collections came to be. This book examines the complex world of ancient libraries, from Greece, Italy, and Egypt, spanning four centuries from Cicero to Constantine. This study of early book collections illuminates the material culture of ancient writing alongside the role of these libraries in the intellectual world of their time. By answering questions about how curators built and maintained their collections of book rolls and how scholars used them, the book creates connections from the world of antiquity to modern day libraries and their scholarly functions, providing a detailed picture of ancient book collections and the essence of an ancient Roman library.Less
Libraries of the ancient world have long held a space in the public imagination. The library at Alexandria, even during antiquity, was nearly legendary. Until now there has been relatively little research done to learn what was inside these libraries, who wrote the book rolls, who maintained and protected the holdings, and how those ancient collections came to be. This book examines the complex world of ancient libraries, from Greece, Italy, and Egypt, spanning four centuries from Cicero to Constantine. This study of early book collections illuminates the material culture of ancient writing alongside the role of these libraries in the intellectual world of their time. By answering questions about how curators built and maintained their collections of book rolls and how scholars used them, the book creates connections from the world of antiquity to modern day libraries and their scholarly functions, providing a detailed picture of ancient book collections and the essence of an ancient Roman library.
Gilberto Artioli
- Published in print:
- 2010
- Published Online:
- September 2010
- ISBN:
- 9780199548262
- eISBN:
- 9780191723308
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199548262.003.0001
- Subject:
- Physics, History of Physics
The introductory chapter is a personal review of the basic concepts of archaeometry and conservation science, as seen by the different players in the field: artists, archaeologists, curators, and ...
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The introductory chapter is a personal review of the basic concepts of archaeometry and conservation science, as seen by the different players in the field: artists, archaeologists, curators, and scientists. Though partial and undoubtedly biased, it attempts to show the multifaceted aspects of the use of scientific methods to the materials of cultural heritage, including some of the current misconceptions and practical problems.Less
The introductory chapter is a personal review of the basic concepts of archaeometry and conservation science, as seen by the different players in the field: artists, archaeologists, curators, and scientists. Though partial and undoubtedly biased, it attempts to show the multifaceted aspects of the use of scientific methods to the materials of cultural heritage, including some of the current misconceptions and practical problems.
Vanessa Jackson
- Published in print:
- 2020
- Published Online:
- September 2020
- ISBN:
- 9781447341895
- eISBN:
- 9781447341970
- Item type:
- chapter
- Publisher:
- Policy Press
- DOI:
- 10.1332/policypress/9781447341895.003.0003
- Subject:
- Business and Management, Knowledge Management
This chapter considers the Pebble Mill project. The project is a multi-media online resource, with social media interaction on Facebook, where members of an online community build an ‘idiosyncratic ...
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This chapter considers the Pebble Mill project. The project is a multi-media online resource, with social media interaction on Facebook, where members of an online community build an ‘idiosyncratic archive’ of memories and artefacts, including photographs, videos, audio, and written text, creating a democratic history of BBC Pebble Mill, which complements the BBC's institutional archive. Some of the tensions and limitations of community archive projects are explored, including moderation, ethics, and legal matters, namely defamation and copyright. One of the major challenges for community archives regards the continuing commitment of ‘citizen curators’, the facilitators of online community projects, whose labour includes devising policies, moderating, and encouraging engagement. Issues of longevity and sustainability are considered, along with the vulnerability of online collections in a precarious virtual world, where platforms are subject to evolution, or removal — threatening the survival of small projects.Less
This chapter considers the Pebble Mill project. The project is a multi-media online resource, with social media interaction on Facebook, where members of an online community build an ‘idiosyncratic archive’ of memories and artefacts, including photographs, videos, audio, and written text, creating a democratic history of BBC Pebble Mill, which complements the BBC's institutional archive. Some of the tensions and limitations of community archive projects are explored, including moderation, ethics, and legal matters, namely defamation and copyright. One of the major challenges for community archives regards the continuing commitment of ‘citizen curators’, the facilitators of online community projects, whose labour includes devising policies, moderating, and encouraging engagement. Issues of longevity and sustainability are considered, along with the vulnerability of online collections in a precarious virtual world, where platforms are subject to evolution, or removal — threatening the survival of small projects.
Peter Bosma
- Published in print:
- 2015
- Published Online:
- November 2015
- ISBN:
- 9780231174596
- eISBN:
- 9780231850827
- Item type:
- book
- Publisher:
- Columbia University Press
- DOI:
- 10.7312/columbia/9780231174596.001.0001
- Subject:
- Film, Television and Radio, Film
This book explores artistic choices in cinema exhibition, focusing on film theatres, film festivals and film archives and situating film-curating issues within an international context. It describes ...
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This book explores artistic choices in cinema exhibition, focusing on film theatres, film festivals and film archives and situating film-curating issues within an international context. It describes how artistic and commercial film availability has increased overwhelmingly as a result of the digitization of the infrastructure of distribution and exhibition. It argues that the film trade's conventional structures are transforming and that, in the digital age, supply and demand can meet without the intervention of traditional gatekeepers; in other words, everybody can be a film curator, in a passive or active way. The book addresses three kinds of readers: those who want to become film curators, those who want to research the film-curating phenomenon, and those critical cinema visitors who seek to investigate the story behind the selection process of available films and the ways that are available to present them.Less
This book explores artistic choices in cinema exhibition, focusing on film theatres, film festivals and film archives and situating film-curating issues within an international context. It describes how artistic and commercial film availability has increased overwhelmingly as a result of the digitization of the infrastructure of distribution and exhibition. It argues that the film trade's conventional structures are transforming and that, in the digital age, supply and demand can meet without the intervention of traditional gatekeepers; in other words, everybody can be a film curator, in a passive or active way. The book addresses three kinds of readers: those who want to become film curators, those who want to research the film-curating phenomenon, and those critical cinema visitors who seek to investigate the story behind the selection process of available films and the ways that are available to present them.
Douglas Rosenberg
- Published in print:
- 2012
- Published Online:
- September 2012
- ISBN:
- 9780199772612
- eISBN:
- 9780199949670
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199772612.003.0008
- Subject:
- Music, Dance
This chapter reconsiders connoisseurship and its possible relationship to screendance. The chapter focuses on spectatorship, the audience and the role of connoisseurship, the phenomena in which ...
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This chapter reconsiders connoisseurship and its possible relationship to screendance. The chapter focuses on spectatorship, the audience and the role of connoisseurship, the phenomena in which literacy grows through the collaborative efforts of curators, makers and finally audience members and patrons. The author suggests that connoisseurship might be described as a desired outcome of any art form, including screendance.Less
This chapter reconsiders connoisseurship and its possible relationship to screendance. The chapter focuses on spectatorship, the audience and the role of connoisseurship, the phenomena in which literacy grows through the collaborative efforts of curators, makers and finally audience members and patrons. The author suggests that connoisseurship might be described as a desired outcome of any art form, including screendance.
Peter Bosma
- Published in print:
- 2015
- Published Online:
- November 2015
- ISBN:
- 9780231174596
- eISBN:
- 9780231850827
- Item type:
- chapter
- Publisher:
- Columbia University Press
- DOI:
- 10.7312/columbia/9780231174596.003.0009
- Subject:
- Film, Television and Radio, Film
This chapter provides an overview of film programming, as well as the terminology to be employed throughout the rest of this book. The central activity in the domain of film exhibition is known as ...
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This chapter provides an overview of film programming, as well as the terminology to be employed throughout the rest of this book. The central activity in the domain of film exhibition is known as ‘programming films’, or ‘curating films’. In light of this, all of the various film programmers worldwide are to be considered as ‘custodians of cinema culture’. This means that their screenings should offer a varied supply of worthwhile film productions, by presenting a diverse selection of the most recent releases, and simultaneously keeping the varied and complex past of cinema alive through screenings of all sorts of film heritage. It is also important to see things from the perspective of the film viewer in order to improve the decisions of the film curator about the choice and the order of films in the programme. This book offers an exploration of essential issues concerning the phenomenon of selecting films and presenting them on a big screen, to a paying audience, whether at a film theatre, film festival, or film archive.Less
This chapter provides an overview of film programming, as well as the terminology to be employed throughout the rest of this book. The central activity in the domain of film exhibition is known as ‘programming films’, or ‘curating films’. In light of this, all of the various film programmers worldwide are to be considered as ‘custodians of cinema culture’. This means that their screenings should offer a varied supply of worthwhile film productions, by presenting a diverse selection of the most recent releases, and simultaneously keeping the varied and complex past of cinema alive through screenings of all sorts of film heritage. It is also important to see things from the perspective of the film viewer in order to improve the decisions of the film curator about the choice and the order of films in the programme. This book offers an exploration of essential issues concerning the phenomenon of selecting films and presenting them on a big screen, to a paying audience, whether at a film theatre, film festival, or film archive.
Tisha M. Brooks
- Published in print:
- 2018
- Published Online:
- May 2019
- ISBN:
- 9780252042232
- eISBN:
- 9780252050978
- Item type:
- chapter
- Publisher:
- University of Illinois Press
- DOI:
- 10.5622/illinois/9780252042232.003.0015
- Subject:
- Literature, Criticism/Theory
Tisha Brooks writes about a digital anthology assignment in her 200-level African American literature survey in which students act as “knowledge curators.” Brooks’s assignments use literary and ...
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Tisha Brooks writes about a digital anthology assignment in her 200-level African American literature survey in which students act as “knowledge curators.” Brooks’s assignments use literary and visual texts to “bridge multiple literacies and historical gaps,” and to encourage students to think critically about representations of violence against black bodies. Student work culminates in a group digital anthology project that helps them “move from mere consumers of knowledge to critical thinkers who use the archive to make meaning of its artifacts and the history and literature connected to them.” By selecting multimedia artifacts across periods, students become adept at representing the historical continuities between past and present.Less
Tisha Brooks writes about a digital anthology assignment in her 200-level African American literature survey in which students act as “knowledge curators.” Brooks’s assignments use literary and visual texts to “bridge multiple literacies and historical gaps,” and to encourage students to think critically about representations of violence against black bodies. Student work culminates in a group digital anthology project that helps them “move from mere consumers of knowledge to critical thinkers who use the archive to make meaning of its artifacts and the history and literature connected to them.” By selecting multimedia artifacts across periods, students become adept at representing the historical continuities between past and present.
Sharon Macdonald and Jennie Morgan
- Published in print:
- 2019
- Published Online:
- May 2019
- ISBN:
- 9781526118196
- eISBN:
- 9781526142016
- Item type:
- chapter
- Publisher:
- Manchester University Press
- DOI:
- 10.7228/manchester/9781526118196.003.0003
- Subject:
- Anthropology, Anthropology, Global
A key – some might even say _the _key – curatorial role is to decide what to collect. What, that is, should be preserved for the future? In this essay, we present ethnographic research with curators ...
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A key – some might even say _the _key – curatorial role is to decide what to collect. What, that is, should be preserved for the future? In this essay, we present ethnographic research with curators of contemporary everyday life. As we show, these curators struggle with a profusion of things, stories and information that could potentially be collected. Moreover, they widely report the struggle to be intensifying. Exploring their perceptions and what these mean in practice in their work, we argue that while neo-liberal and especially austerity politics has an important role in intensifying their sense of anxiety, their experience cannot be reduced to this. On the contrary, their intimation of dystopia is as much a function of other – in some ways utopian – aspirations and politics, as well as of a relativisation of value. These all contribute to transforming the nature of curatorship more widely.Less
A key – some might even say _the _key – curatorial role is to decide what to collect. What, that is, should be preserved for the future? In this essay, we present ethnographic research with curators of contemporary everyday life. As we show, these curators struggle with a profusion of things, stories and information that could potentially be collected. Moreover, they widely report the struggle to be intensifying. Exploring their perceptions and what these mean in practice in their work, we argue that while neo-liberal and especially austerity politics has an important role in intensifying their sense of anxiety, their experience cannot be reduced to this. On the contrary, their intimation of dystopia is as much a function of other – in some ways utopian – aspirations and politics, as well as of a relativisation of value. These all contribute to transforming the nature of curatorship more widely.
Conal McCarthy, Arapata Hakiwai, and Philipp Schorch
- Published in print:
- 2019
- Published Online:
- May 2019
- ISBN:
- 9781526118196
- eISBN:
- 9781526142016
- Item type:
- chapter
- Publisher:
- Manchester University Press
- DOI:
- 10.7228/manchester/9781526118196.003.0014
- Subject:
- Anthropology, Anthropology, Global
This volume argues that curatorship may be ‘recalled’ and remade through collaborative relationships with communities leading to experiments in curatorial theory and practice. What can museums of ...
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This volume argues that curatorship may be ‘recalled’ and remade through collaborative relationships with communities leading to experiments in curatorial theory and practice. What can museums of ethnography in the Americas and Europe learn from the experience of nations where distinctive forms of Indigenous museology are emerging and reshaping the conventions of curatorial practice? In addressing this question, the current chapter draws on research by the authors, including interviews with Māori curators, museum professionals, academics, and community leaders throughout Aotearoa New Zealand, exploring connections with the wider Pacific and the world. In doing so, it focuses on the ‘figure of the kaitiaki’, the Māori ‘guardian’, as a particular local development of the ‘figure of the curator’. It concludes that museums across the world can learn from Pacific experriments and become active agents in shaping cultural revival and future potentialities on a global scale.Less
This volume argues that curatorship may be ‘recalled’ and remade through collaborative relationships with communities leading to experiments in curatorial theory and practice. What can museums of ethnography in the Americas and Europe learn from the experience of nations where distinctive forms of Indigenous museology are emerging and reshaping the conventions of curatorial practice? In addressing this question, the current chapter draws on research by the authors, including interviews with Māori curators, museum professionals, academics, and community leaders throughout Aotearoa New Zealand, exploring connections with the wider Pacific and the world. In doing so, it focuses on the ‘figure of the kaitiaki’, the Māori ‘guardian’, as a particular local development of the ‘figure of the curator’. It concludes that museums across the world can learn from Pacific experriments and become active agents in shaping cultural revival and future potentialities on a global scale.
Bronwyn Labrum
- Published in print:
- 2019
- Published Online:
- May 2019
- ISBN:
- 9781526118196
- eISBN:
- 9781526142016
- Item type:
- chapter
- Publisher:
- Manchester University Press
- DOI:
- 10.7228/manchester/9781526118196.003.0016
- Subject:
- Anthropology, Anthropology, Global
This chapter considers social history in a post-colonial contest. It specifically examines how the history of the majority culture in a post-settler society has and might be curated. Using Aotearoa ...
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This chapter considers social history in a post-colonial contest. It specifically examines how the history of the majority culture in a post-settler society has and might be curated. Using Aotearoa New Zealand as its case study, it considers the figure of the Pakeha (non-indigenous) curator in relation to, and also in contrast with, indigenous collections and displays. What does a history curator look like in a post-settler society? Does the history curator continue the mutual asymmetry that has characterised relations and curatorial endeavours? Or is there a way to recognise cross-cultural material histories? In considering the development of history, and specifically social history, it suggests that a more useful concept is material history, rather than historical material cultures studies. The rest of the chapter ranges across a broad range of material history, including fashion and clothing, and design, to consider how contemporary museums deal with everyday life and its material aspects in museums, which are still to a large extent focussed on discrete objects and forms of material culture, and which carry the burden of the historical development of their collections into a post-settler world.Less
This chapter considers social history in a post-colonial contest. It specifically examines how the history of the majority culture in a post-settler society has and might be curated. Using Aotearoa New Zealand as its case study, it considers the figure of the Pakeha (non-indigenous) curator in relation to, and also in contrast with, indigenous collections and displays. What does a history curator look like in a post-settler society? Does the history curator continue the mutual asymmetry that has characterised relations and curatorial endeavours? Or is there a way to recognise cross-cultural material histories? In considering the development of history, and specifically social history, it suggests that a more useful concept is material history, rather than historical material cultures studies. The rest of the chapter ranges across a broad range of material history, including fashion and clothing, and design, to consider how contemporary museums deal with everyday life and its material aspects in museums, which are still to a large extent focussed on discrete objects and forms of material culture, and which carry the burden of the historical development of their collections into a post-settler world.
Albena Yaneva
- Published in print:
- 2020
- Published Online:
- May 2021
- ISBN:
- 9781501751820
- eISBN:
- 9781501751837
- Item type:
- book
- Publisher:
- Cornell University Press
- DOI:
- 10.7591/cornell/9781501751820.001.0001
- Subject:
- Literature, Prose (inc. letters, diaries)
What constitutes an archive in architecture? What forms does it take? What epistemology does it perform? What kind of craft is archiving? This book provides answers and offers insights on the ...
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What constitutes an archive in architecture? What forms does it take? What epistemology does it perform? What kind of craft is archiving? This book provides answers and offers insights on the ontological granularity of the archive and its relationship with architecture as a complex enterprise that starts and ends much beyond the act of building or the life of a creator. In this book we learn how objects are processed and catalogued, how a classification scheme is produced, how models and drawings are preserved, and how born-digital material battles time and technology obsolescence. We follow the work of conservators, librarians, cataloguers, digital archivists, museum technicians, curators, and architects, and we capture archiving in its mundane and practical course. Based on ethnographic observation at the Canadian Centre for Architecture and interviews with a range of practitioners, including Álvaro Siza and Peter Eisenman, the book traces archiving through the daily work and care of all its participants, scrutinizing their variable ontology, scale, and politics. It addresses the strategies practicing architects employ to envisage an archive-based future and tells a story about how architectural collections are crafted so as to form the epistemological basis of architectural history.Less
What constitutes an archive in architecture? What forms does it take? What epistemology does it perform? What kind of craft is archiving? This book provides answers and offers insights on the ontological granularity of the archive and its relationship with architecture as a complex enterprise that starts and ends much beyond the act of building or the life of a creator. In this book we learn how objects are processed and catalogued, how a classification scheme is produced, how models and drawings are preserved, and how born-digital material battles time and technology obsolescence. We follow the work of conservators, librarians, cataloguers, digital archivists, museum technicians, curators, and architects, and we capture archiving in its mundane and practical course. Based on ethnographic observation at the Canadian Centre for Architecture and interviews with a range of practitioners, including Álvaro Siza and Peter Eisenman, the book traces archiving through the daily work and care of all its participants, scrutinizing their variable ontology, scale, and politics. It addresses the strategies practicing architects employ to envisage an archive-based future and tells a story about how architectural collections are crafted so as to form the epistemological basis of architectural history.
Jan Bryant
- Published in print:
- 2019
- Published Online:
- May 2020
- ISBN:
- 9781474456944
- eISBN:
- 9781474476867
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474456944.003.0009
- Subject:
- Philosophy, Aesthetics
The Curator is a performance by Frances Barrett in response to a question posed by Liquid Architecture, an arts organisation for artists working with sound, “What does a feminist methodology sound ...
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The Curator is a performance by Frances Barrett in response to a question posed by Liquid Architecture, an arts organisation for artists working with sound, “What does a feminist methodology sound like?” Two curators are asked to fully care for the artist including feeding, toileting, boarding and entertaining over a 24-hour period. The implications arising from Curator around care, hospitality, feminism, curatorial responsibilities, tolerance, and gender are considered. It also includes philosophical questions on immanence, and forms of ethics. There is an analysis of scenes from Certain Women (2017) a film directed by Kelly Reichardt that touches on similar themes. [100]Less
The Curator is a performance by Frances Barrett in response to a question posed by Liquid Architecture, an arts organisation for artists working with sound, “What does a feminist methodology sound like?” Two curators are asked to fully care for the artist including feeding, toileting, boarding and entertaining over a 24-hour period. The implications arising from Curator around care, hospitality, feminism, curatorial responsibilities, tolerance, and gender are considered. It also includes philosophical questions on immanence, and forms of ethics. There is an analysis of scenes from Certain Women (2017) a film directed by Kelly Reichardt that touches on similar themes. [100]
Jennifer C. Lena
- Published in print:
- 2019
- Published Online:
- May 2020
- ISBN:
- 9780691158914
- eISBN:
- 9780691189840
- Item type:
- chapter
- Publisher:
- Princeton University Press
- DOI:
- 10.23943/princeton/9780691158914.003.0003
- Subject:
- History, Social History
This chapter discusses the creation of the Museum of Primitive Art (MPA). The history of Michael C. Rockefeller's primitive art collection provides an ideal case study of the process of artistic ...
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This chapter discusses the creation of the Museum of Primitive Art (MPA). The history of Michael C. Rockefeller's primitive art collection provides an ideal case study of the process of artistic legitimation. Through a detailed analysis of the complete organizational archive—including memos, publications, journals, and administrative paperwork—one can observe this process in detail. The small group of MPA administrators fought to promote artistic interpretations of the objects in the collection against the established view that they were anthropological curiosities. However, these objects were removed from their sites of production and early circulation and left in the care of American curators and tastemakers to make of them what they will; in Rockefeller's case, he leveraged them to produce capital he used in a struggle with other collectors and museum administrators. What he did not do is redistribute those resources toward living artists or register much hesitation about moving those objects to New York. Nor did he have to acknowledge the labor done by earlier advocates of these arts in black internationalist movements. Nevertheless, Rockefeller's triumph was the eventual inclusion of his collection in the Metropolitan Museum of Art (Met), as the Michael C. Rockefeller Wing.Less
This chapter discusses the creation of the Museum of Primitive Art (MPA). The history of Michael C. Rockefeller's primitive art collection provides an ideal case study of the process of artistic legitimation. Through a detailed analysis of the complete organizational archive—including memos, publications, journals, and administrative paperwork—one can observe this process in detail. The small group of MPA administrators fought to promote artistic interpretations of the objects in the collection against the established view that they were anthropological curiosities. However, these objects were removed from their sites of production and early circulation and left in the care of American curators and tastemakers to make of them what they will; in Rockefeller's case, he leveraged them to produce capital he used in a struggle with other collectors and museum administrators. What he did not do is redistribute those resources toward living artists or register much hesitation about moving those objects to New York. Nor did he have to acknowledge the labor done by earlier advocates of these arts in black internationalist movements. Nevertheless, Rockefeller's triumph was the eventual inclusion of his collection in the Metropolitan Museum of Art (Met), as the Michael C. Rockefeller Wing.
Bonnie Effros
- Published in print:
- 2003
- Published Online:
- March 2012
- ISBN:
- 9780520232440
- eISBN:
- 9780520928183
- Item type:
- chapter
- Publisher:
- University of California Press
- DOI:
- 10.1525/california/9780520232440.003.0004
- Subject:
- Classical Studies, European History: BCE to 500CE
Some of the analytical deficiencies of mortuary studies were generated from the intrinsically interdisciplinary nature of evidence. Scholars have not always been aware of the limitations of the ...
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Some of the analytical deficiencies of mortuary studies were generated from the intrinsically interdisciplinary nature of evidence. Scholars have not always been aware of the limitations of the sources because they have had to utilize materials from fields other than their own to support their findings. Early medieval grave artifacts thought to have belonged to royalty have long attracted the attention of specialists in the disciplines of early medieval history, art history, and archaeology. Not only have rich finds linked to historical figures generated great interest among academics and curators, but they have also stirred the curiosity of a more general audience. However, promoting the material's appeal has meant focusing on lavish rather than representative examples of artifactual remains. These exceptional pieces have been the object of multiple inquiries and the subject of influential exhibitions; much of the resulting research has been highly reliable, although some has been less than methodologically sound.Less
Some of the analytical deficiencies of mortuary studies were generated from the intrinsically interdisciplinary nature of evidence. Scholars have not always been aware of the limitations of the sources because they have had to utilize materials from fields other than their own to support their findings. Early medieval grave artifacts thought to have belonged to royalty have long attracted the attention of specialists in the disciplines of early medieval history, art history, and archaeology. Not only have rich finds linked to historical figures generated great interest among academics and curators, but they have also stirred the curiosity of a more general audience. However, promoting the material's appeal has meant focusing on lavish rather than representative examples of artifactual remains. These exceptional pieces have been the object of multiple inquiries and the subject of influential exhibitions; much of the resulting research has been highly reliable, although some has been less than methodologically sound.
Liam Gillick
- Published in print:
- 2016
- Published Online:
- May 2017
- ISBN:
- 9780231170208
- eISBN:
- 9780231540964
- Item type:
- chapter
- Publisher:
- Columbia University Press
- DOI:
- 10.7312/columbia/9780231170208.003.0012
- Subject:
- Art, Art Theory and Criticism
Endless work. The rise of interface technologies. Contraction, limitation and exit. Resistance through subcultural assertion. The consolidation of the contemporary as a describable practice. The ...
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Endless work. The rise of interface technologies. Contraction, limitation and exit. Resistance through subcultural assertion. The consolidation of the contemporary as a describable practice. The arrival of the curator and an awareness of our condition.Less
Endless work. The rise of interface technologies. Contraction, limitation and exit. Resistance through subcultural assertion. The consolidation of the contemporary as a describable practice. The arrival of the curator and an awareness of our condition.
Bennetta Jules-Rosette and J. R. Osborn
- Published in print:
- 2020
- Published Online:
- January 2021
- ISBN:
- 9780252043277
- eISBN:
- 9780252052156
- Item type:
- book
- Publisher:
- University of Illinois Press
- DOI:
- 10.5622/illinois/9780252043277.001.0001
- Subject:
- Society and Culture, African Studies
This book approaches the reframing of African art through dialogues with collectors, curators, and artists on three continents. It explores museum exhibitions, storerooms, artists’ studios, and ...
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This book approaches the reframing of African art through dialogues with collectors, curators, and artists on three continents. It explores museum exhibitions, storerooms, artists’ studios, and venues for community outreach. Part One (Chapters 1-3) addresses the history of ethnographic and art museums, ranging from curiosity cabinets to modernist edifices and virtual websites. Museums are considered in terms of five transformational nodes, which contrast ways in which museums are organized and reach out to their audiences. Diverse groups of artists interact with museums at each node. Part Two (Chapters 4-5) addresses museum practices and art worlds through dialogues with curators and artists examining museums as ecosystems and communities within communities. Processes of display and memory work used by curators and artists are analyzed with semiotic methods to investigate images, signs, and symbols drawn from curating the curators and exploring artists’ experiences. Part Three (Chapters 6-8) introduces new strategies for displaying, disseminating, and reclaiming African art. Approaches include the innovative technology of unmixing and the reframing of art for museums of the future. The book addresses building exchanges through studies of curatorial networks, south-north connections, genre classifications, archives, collections, databases, and learning strategies. These discussions open up new avenues of connectivity that range from local museums to global art markets and environments. In conclusion, the book proposes new methods for interpreting African art inside and outside of museums and remixing the results.Less
This book approaches the reframing of African art through dialogues with collectors, curators, and artists on three continents. It explores museum exhibitions, storerooms, artists’ studios, and venues for community outreach. Part One (Chapters 1-3) addresses the history of ethnographic and art museums, ranging from curiosity cabinets to modernist edifices and virtual websites. Museums are considered in terms of five transformational nodes, which contrast ways in which museums are organized and reach out to their audiences. Diverse groups of artists interact with museums at each node. Part Two (Chapters 4-5) addresses museum practices and art worlds through dialogues with curators and artists examining museums as ecosystems and communities within communities. Processes of display and memory work used by curators and artists are analyzed with semiotic methods to investigate images, signs, and symbols drawn from curating the curators and exploring artists’ experiences. Part Three (Chapters 6-8) introduces new strategies for displaying, disseminating, and reclaiming African art. Approaches include the innovative technology of unmixing and the reframing of art for museums of the future. The book addresses building exchanges through studies of curatorial networks, south-north connections, genre classifications, archives, collections, databases, and learning strategies. These discussions open up new avenues of connectivity that range from local museums to global art markets and environments. In conclusion, the book proposes new methods for interpreting African art inside and outside of museums and remixing the results.
