Museum Materialities
Lýsing:
This is an innovative interdisciplinary book about objects and people within museums and galleries. It addresses fundamental issues of human sensory, emotional and aesthetic experience of objects. The chapters explore ways and contexts in which things and people mutually interact, and raise questions about how objects carry meaning and feeling, the distinctions between objects and persons, particular qualities of the museum as context for person-object engagements, and the active and embodied role of the museum visitor.
Museum Materialities is divided into three sections – Objects, Engagements and Interpretations – and includes a foreword by Susan Pearce and an afterword by Howard Morphy. It examines materiality and other perceptual and ontological qualities of objects themselves; embodied sensory and cognitive engagements – both personal and across a wider audience spread – with particular objects or object types in a museum or gallery setting; notions of aesthetics, affect and wellbeing in museum contexts; and creative and innovative artistic and museum practices that seek to illuminate or critique museum objects and interpretations.
Phenomenological and other approaches to embodied experience in an emphatically material world are current in a number of academic areas, most particularly strands of material culture studies within anthropology and cognate disciplines. Thus far, however, there has been no concerted application of this kind of approach to museum collections and interactions with them by museum visitors, curators, artists and researchers.
Annað
- Höfundur: Sandra Dudley
- Útgáfa:1
- Útgáfudagur: 2013-10-18
- Blaðsíður: 312
- Hægt að prenta út 2 bls.
- Hægt að afrita 2 bls.
- Format:ePub
- ISBN 13: 9781136616549
- Print ISBN: 9780415492188
- ISBN 10: 1136616543
Efnisyfirlit
- Cover Page
- Half Title page
- Title Page
- Copyright Page
- Dedication
- Contents
- List of Figures
- List of Contributors
- 1 Museum Materialities Objects, sense and feeling
- The museum object and materiality
- Reconfiguring the museum object
- Engaging with objects in museums
- Self-evident materiality?
- Museum processes and sensory and emotional experience
- Subject—object distinctions
- Acknowledgements
- Notes
- References
- The museum object and materiality
- Part 1 Objects
- 2 Photographs and History Emotion and materiality
- Introduction
- Positionings
- Visual documents or bundled objects?
- Inside the museum
- Outside the museum
- Conclusion
- Acknowledgements
- Notes
- References
- 3 Remembering the Dead by Affecting the Living The case of a miniature model of Treblinka
- What is affect?
- The importance of the personal
- The impact of the miniature on the affective power of the model
- What then is the role of interpretation?
- Notes
- References
- 4 Touching the Buddha Encounters with a charismatic object
- Introduction
- The moment of contact
- Encounters: ‘idolatory, iconoclasm and co-option'
- Continuities in the biography of the Sultanganj Buddha
- Iconoclasm and the burial of the Sultanganj Buddha
- Idolatry and the resurrection of the Sultanganj Buddha
- Institutional co-option
- Echoes of earlier events
- ‘Idolatry' and adoption
- Iconoclasm and ‘active repatriation'
- Mythology and polemic
- Unpacking charisma
- A human-like non-human
- Conclusion: the multiple sources of charisma
- Notes
- References
- 5 Contemporary Art An immaterial practice?
- Notes
- References
- 6 The Eyes Have It Eye movements and the debatable differences between original objects and reproductions
- Acknowledgments
- Notes
- References
- 2 Photographs and History Emotion and materiality
- 7 Experiencing Materiality in the Museum Artefacts re-made
- Intention
- The project
- Reflections
- References
- 8 Virginia Woolf's Glasses Material encounters in the literary/artistic house museum
- Virginia Woolf's glasses
- Painted cupboard, Vanessa Bell's bedroom
- Dressing table, spare bedroom
- Notes
- References
- 9 When Ethnographies Enter Art Galleries
- The Animitas project
- Images as ethnographic depictions
- The making of ethnographic texts and images
- Exhibits and audiences
- Representing violence and audiences' reactions
- Notes
- References
- 10 Engaging the Material World Object knowledge and Australian Journeys
- Re-discovering objects
- Object biography
- Object knowledge
- An object-centred exhibition
- Conclusion
- Note
- References
- 11 Watch Your Step Embodiment and encounter at Tate Modern
- Notes
- References
- 12 Reconsidering Digital Surrogates Toward a viewer-orientated model of the gallery experience
- Historical context
- Recasting the object/viewer paradigm: examples from information seeking theory
- Toward a theoretical model of the ‘gallery effect'
- The effect of physical space
- The effect of the five senses
- The effect of personal experience
- A viewer-oriented model of the gallery experience
- Final observations: viewer-orientation in the era of customized content
- Note
- References
- 13 Dancing Pot and Pregnant Jar? On ceramics, metaphors and creative labels
- Silent object
- Object as metaphor
- Creative Space at BCM
- A ‘biscuit for bisque'
- Looking with the mind's eyes
- The object sings
- Writing creative labels
- Personal meanings vs. public interest
- Conclusion: working with communities
- Acknowledgements
- Note
- References
- 14 Myth, Memory and the Senses in the Churchill Museum
- History, memory and affect in museums
- National memory and the Second World War: 1940 — myth and history
- British national identity and Churchill
- Churchill's image
- Churchill's speeches
- The Churchill Museum
- Listening
- Image
- Conclusion
- Acknowledgements
- Notes
- References
- 15 Dreams and Wishes The multi-sensory museum space
- Introduction
- Making sense
- Language and emotion
- Objects and the dream theme
- African Worlds and ‘Inspiration Africa!' at the Horniman Museum, London
- Dream cushions: at the museum/school frontiers
- Thinking of dreams away from the museum: school reflections
- Conclusion
- Notes
- References
- 16 Making Meaning Beyond Display
- Agents of change
- Artists and curators
- Storage stuff
- Openness to re-meaning
- Inter-artefactuality
- Interpretative communities
- The last tram
- Mutual understanding
- Iceboxes
- Acknowledgements
- Notes
- References
- 17 Authenticity and Object Relations in Contemporary Performance Art
- Acknowledgements
- References
- Afterword
- Towards a new paradigm for material culture
- Disjunctive interpretation
- Feelings across cultures
- References
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