Editors:
Kathy Sanford
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,
Darlene Clover
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,
Nancy Taber
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, and
Sarah Williamson
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Pages:
vii–ix
Free access
Figures
2.1 “Women behind Bars”. 46
2.2 “Women behind Bars” exhibit located near fire exit. 46
2.3 “Domestic Life at Fort Smith”. 47
2.4 “The Workings of the Court”. 48
2.5 Typical photo depiction of women. 49
2.6 Belle Starr photo outside women’s restroom. 50
2.7 “Fort Smith’s Finest” depicting African-American and Native-American deputy marshals. 51
2.8 Peter Caulder depicted in “Temporary African-American” display. 52
2.9 “Maggie L. Walker” display. 53
2.10 Facebook post by participant K.R. 55
2.11 Bloomfield music academy. 58
3.1 A banner in the ‘activist’ section of the exhibition. 72
3.2 Dressed for death. 74
3.3 Caricature of woman wearing a bustle. 75
3.4 The Back Side. 76
3.5 Corsets and straight jackets. 77
4.1 Invitation: How might you ‘re-write’ this curatorial statement? 92
5.1 Oil painting by Frederick Arthur Verner named “American Falls, Niagara” (1960). This painting is one chosen by Niro (2017) to be included in her 1779 exhibition at the Art Gallery of Hamilton. 108
5.2 Oil painting by Jeffrey Spalding named “Dark Union” (1986). 109
5.3 “1779” by Shelley Niro, the central focus of her exhibition titled 1779. Behind the shoes a video plays which shows children playing and singing in the woods, with many shots of the natural surroundings. 110
5.4 A more encompassing view of three different parts of the 1779 exhibition, ­including Niro’s “Resting with Warriors” (2001) series. The wood cuts each depict a different characteristic: intellect, spirit, emotion and strength. 111
6.1 Students during a visit (Casa Dell’Energia e Dell’Ambiente). 118
6.2 Protests in Via Larga, 1969. 119
6.3 Laura and Silvia in front of women’s revolution panel (Casa Dell’Energia e Dell’Ambiente). 121
6.4 Students lived together 24/7 in the Fortuna’s Studio (Trieste). 123
6.5 “Today We Took to the Streets” (Base, Milan). 124
6.6 Silvia’s father, last one on the right, with his colleagues, 1973 (Como). 125
6.7 Our Bodies, Ourselves book cover, 1973. 127
8.1 At the entrance to the WAM, white flowers are offered to those survivors who passed away (photograph by Tsukamoto, 2019). 162
8.2 The annual special exhibition area in WAM (photograph by Tsukamoto, 2019). 164
9.1 Created by Lauren (based on verbatim words by female veteran participants and finger painting contributions by 18 month old Amélie). 187
10.1 Courage and Passion exhibit at the Canadian Museum of Nature, Ottawa, Ontario, December 14, 2018 (photo courtesy of Darlene Clover). 200
10.2 Promotional poster used by the Canadian War Museum for their World War Women exhibit, 2016. 204
12.1 ArtActivistBarbie questioning and challenging female exclusion and ­representation in the National Gallery, London. 231
12.2 ArtActivistBarbie in action, photographed in a public art museum. 235
12.3 ArtActivistBarbie drawing attention to exclusionary practices and race. 236
12.4 ArtActivistBarbie photographed outside the National Gallery, London. 238
12.5 ArtActivistBarbie with campaign supporters Action Man and Ken, ­photographed in the National Gallery, London. 240
12.6 Tweet examples from the ArtActivistBarbie Twitter account @BarbieReports. 244
14.1 John Walter’s first house, built 1876. John Walter Museum Historic Site, ­Edmonton, Alberta, Canada. 271
14.2 John Walter and Annie Walter’s home, third house, 1901. John Walter Museum and Historic Site, Edmonton, Alberta, Canada. 272
14.3 Photos of Mary Pinkoski as a historic interpreter at the John Walter Museum (material republished with the express permission of Edmonton Journal, a ­division of Postmedia Network Inc.). 273
14.4 Day book 1924, 1928–1943, Walter Family Fonds. City Archives of Edmonton, Edmonton, Alberta, Canada. 275
14.5 Minutes, John Walter Ltd, 1910–1917. Walter Family fonds, City Archives of ­Edmonton, Edmonton, Alberta, Canada. 276
14.6 “Wives of Pioneers Meet at Exhibition Grounds,” Edmonton Journal (July 19, 1934): front page. Annie Walter is on the far left side of the front row of this photograph. 278
15.1 Young Turkish women (from Akkent & Franger, 1987, p. 170). 290
15.2 Turkish beauty in Illustrierte Frauenzeitung, 11 December 1875 (from Akkent & Franger, 1987, p. 136). 291
15.3 Cursed Seal (photographs by Mashad Afshar). 292
15.4 Girl in Regentuch (from Johann Kramer: Nürnbergische Kleider-Arten. ­Kleider-Ordnung. Nürnberg, 1669, Germanisches Nationalmuseum). 292
15.5 Nuremberg woman in white Regentuch (from Jakob Andreas Friedrich, 18th century, Germanisches Nationalmuseum). 293
15.6 Grave relief of mother and son. Hittite tomb of the 7th century BC (from ­Anadolu Mendeniyetleri Kataloğu, 1983, p. 267). 293
15.7 Anatolian dowry chest from 1986 (photograph by Elisabeth Bala). 294
15.8 Collection of oyas (photograph by Elisabeth Bala). 294
15.9 Column of Marcus Aurelius, 2nd century (from Petersen, 1896). 295
15.10 German marriage in 1931. 296
15.11 Members of the Association for the Defence of Women’s Rights, 1913. 296
15.12 Guardians of public morality (Khartoon Khalid Albai, from https://www.facebook.com/KhalidAlbaih/, with permission). 297
15.13 View of exhibition testimonies. 299
15.14 Kamile Erdemir. 299
15.15 Margarete Erber. 300
15.16 Maria Moldovan with scarf and without. 300
15.17 Ümmü Dikbaş. 301
Table
1.1 Review of national women’s history museum. 31
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Feminist Critique and the Museum

Educating for a Critical Consciousness

Cover Feminist Critique and the Museum
E-Book ISBN:
9789004440180
Publisher:
Brill
Print Publication Date:
24 Aug 2020
Front Matter
Copyright page
Illustrations
Notes on Contributors
Introduction
Part 1 Stories Museums Tell
Chapter 1 Toward a Racialised Gendered Museum Literacy
Chapter 2 Infinitely Obscure Lives
Chapter 3 Fashioning Women, Defrocking Patriarchy
Chapter 4 Hacking Language
Chapter 5 An Exploration of Discourses on Niagara Falls
Chapter 6 Signs Images Words from 1968
Part 2 On War, Peace and Human Rights
Chapter 7 Whose (Military) Heritage? A Feminist Antimilitarist Analysis of Military Heritage Sites in Canada, England, and Europe
Chapter 8 The Women’s Active Museum on War and Peace
Chapter 9 Familiar Brushstrokes, Different Narratives
Chapter 10 Courage and Passion and World War Women
Chapter 11 From Darkness to Light? Problematising Transformative Learning at the Canadian Museum for Human Rights
Part 3 Illumination, Provocation, Imagination
Chapter 12 ‘ArtActivistBarbie’
Chapter 13 The Critical Advocacies and Pedagogies of Women’s Museums
Chapter 14 A Room of Her Own
Chapter 15 Cultures of Headscarves
Chapter 16 The Invisibility Cloak
Back Matter
Index

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