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Exhibiting Material Culture in Tunisia (1881-2016)
This chapter explores a selection of programmes in museums for people with dementia, as well as how these types of sessions can trigger a nostalgic response from participants. In recent years programming for this group has become increasingly frequent worldwide, with museums hoping to demonstrate that they are socially inclusive, accessible for all and meeting the needs of their communities. A qualitative research approach allows for a holistic view of both successful and newly established museum programmes. The exploration of their context, programme structure and audience highlights larger issues involved such as social inclusion, arts and health, and the level of provision for disabled people in museums. Although these programmes depend solely on the present, without any requirement for knowledge of art history or even the use of memory, they inevitably trigger reminiscence and evoke a sense of nostalgia amongst participants. While it is clear that museums share a number of common challenges in the development and sustainability of programmes for dementia sufferers, the benefits outlined in this chapter, both for the participants and museums, should be used to encourage and motivate more institutions to cater for this group.
A Review of Art and Value: Art’s Economic Exceptionalism in Classical, Neoclassical and Marxist Economics by Dave Beech
and should be applied to a series of interlocking fields that include art economics, the politics of arts funding, institutional analysis, the study of collecting and museums, discussion of aesthetic judgement, and the discipline of art history. The first part of the book is an intellectual history
M.K. Flynn and Tony King
Since the end of apartheid, public history in South Africa has been undergoing reconstruction. One important goal is creation of a cross-racial and -cultural civic identity as opposed to the pre-democratic premise of opposing, legally unequal ethnic communities. However, as borne out by research at public history museums in Gauteng, Northern Cape, Western Cape, Eastern Cape and KwaZulu Natal, there is little agreement as to what qualifies as an inclusive South African, rather than racially or culturally exclusive, history, and little co-ordination at the national or provincial level to encourage an over-arching philosophy of how to present South African history to the public. This is not surprising given the fractured character of South Africa’s recent past and negotiated nature of its pacted transition. But, as a result, many post-1994 changes at public history museums are ad hoc, inconsistent and discretionary, lending themselves to a sense of irrelevance or even hostile partiality to varied sectors of the South African public. While inclusive “reconciliation” is the ideal principle of the new South Africa, museums have not been able to capitalize on this sentiment if one takes into account that, at almost all sites investigated, the vast majority of visitors are either not voluntary (children on school outings) or South African (foreign tourists). Given that most sites are not primarily accessed out of choice by the South African public, the potential of public history museums, along with the narratives they present, to enhance civic cohesion and cross-racial or –cultural understanding is severely limited.
It is widely acknowledged that museums play an important ideological and cultural role in national identity formation by selecting, displaying, and interpreting art works that have the potential to engender a sense of national consciousness, pride, and belonging. In her seminal essay “Art Museums
The Illicit Export of Artworks Out of Italy, 1861-1909
Making use of rich archival material Joanna Smalcerz narrates the complex and often dramatic struggle between the lawmakers of the new Italian State, and international curators (e.g., Wilhelm Bode), collectors (e.g., Isabella Stewart Gardner) and dealers (e.g., Stefano Bardini) who continuously orchestrated illicit schemes to export abroad Italian masterpieces. At the heart of the intertwinement of the art trade, art scholarship and art protection policies the author exposes the socio-psychological dynamics of unlawful collecting.
John F. Kennedy Presidential Library and Museum
History and Memory, Identity and Art from Vienna to the Bezalel National Museum, Jerusalem
Katharina Wilkens, Christian Meyer, Anne Koch, Petra Tillessen and Annette Wilke
Journal of Religion in Europe 4 (2011) 71–101 © Koninklijke Brill NV, Leiden, 2011 DOI 10.1163/187489210X553502 brill.nl/jre Journal of Religion in Europe Museum in Context Anne Koch Interfaculty Programme for the Study of Religion, Ludwig-Maximilians-University Geschwister-Scholl-Platz 1, D
[German Version] I. The Institution: Definition and Function – II. History – III. Religion in the Museum: A Typological Survey – IV. Religions in the Museum: Forms of Reception and Areas of Conflict Museums are complex institutions of Europe's modern secular civil society, especially, since the 18