How can regional art galleries support the development of cultural understanding in their communities? The 2019 collaborative project Aratoi: Our Journeys to Aotearoa between Nelson, New Zealand’s Suter Art Gallery te Aratoi o Whakatū and eight local schools explored this question. Students’ artworks were hung alongside the gallery’s collection, enriching dialogue within the exhibition through the provision of voices otherwise absent. Building on the gallery’s collection and history, this project demonstrated the evolution of the gallery’s colonial roots into a broader discussion of culture. Participating teachers believed the project allowed public recognition of students’ abilities and ideas; expression of a school community’s special character; cross-curricular learning; cohesive whole school learning; bicultural learning; and pre-service teacher development. It also enabled meaningful exploration of Aotearoa New Zealand’s histories.
Collaborative Knowledge Construction at a Regional Art Gallery in New Zealand
Esther Helen McNaughton
Secret and Sacred Objects at the Weltmuseum Wien
Today many ethnographic museums are questioning the hierarchical power relationships implicit in the act of representing the cultures of others. In this article I analyze the way that the curator of the South American section of the Weltmuseum Wien chose to deal with the exhibition of sacred and secret objects, that is, those things that only specific categories of individuals are allowed to view. If we exclude storage as a possible solution, what is the proper way to treat artifacts such as these? How should the expectations of an audience attracted to the idea of the exotic, and perhaps forbidden, be satisfied? How can this challenge be transformed into an opportunity to reflect about what we have, or have not, the right to do?
Inge Zwart, Susanne Boersma, Franziska Mucha, and Cassandra Kist
Care-ful Participation in Museums: A Review of The Museum as a Space of Social Care by Nuala Morse
Larissa Juip, Geuntae Park, Jill Haley, Joanna Cobley, Kristin D. Hussey, Eric J. Dorfman, and Ken Arnold
Yunci Cai. Staging Indigenous Heritage: Instrumentalisation, Brokerage, and Representation in Malaysia. New York: Routledge, 2021
Sang-hoon Jang. A Representation of Nationhood in the Museum. New York: Routledge, 2020
Claire Dumortier and Patrick Habets (eds.). Porcelain Pugs: A Passion, The T. & T. Collection. New Haven, CT: Yale University Press, 2020
Stephen B. Heard. Charles Darwin’s Barnacle and David Bowie’s Spider: How Scientific Names Celebrate Adventurers, Heroes, and Even a Few Scoundrels. New Haven, CT: Yale University Press, 2020
Anna Woodham, Alison Hess, and Rhianedd Smith (eds.). Exploring Emotion, Care, and Enthusiasm in “Unloved” Museum Collections. Leeds: Arc Humanities Press, 2020
Michael John Gorman. Idea Colliders: The Future of Science Museums. Cambridge, MA: The MIT Press, 2020
Peter Bjerregaard (ed.). Exhibitions as Research: Experimental Methods in Museums. New York: Routledge, 2020
This article is a re-edited version of the opening prelude to the author’s The Museum’s Borders: On the Challenge of Knowing and Remembering Well (Routledge, 2021). Based on reportage concerning the Windrush scandal, this article makes the case for the museum to be understood as an autonomous institution critical to knowledge-based democracies. The scandal, exposed in 2018, was the result of the British Government’s “hostile environment,” a brutal approach to immigration that ensnared historic migrants to Britain from the Caribbean. Resulting in state violence against Black British citizens, it revealed the degree to which Britain remained mired in institutional racism. Museums, libraries, and other cultural institutions played a critical role in recovering and asserting the history and legitimacy of these people.
Museum Representation in Black Panther
In recent decades, the museum world has devoted time and resources to studying the opinions and actions of their visitors; however, it is much more difficult to access perspectives of a more general public that includes non-visitors. This article situates popular visual culture as a form of engagement between museum professionals and the public. By analyzing the museum scene of the Marvel Studios movie Black Panther, as well as responses to it, and then contextualizing these within the history and current events of the museum field, I identify ways in which popularly received visual culture can spur change in other cultural industries—creating productive critiques that can evolve into impactful dialogue and action to model responsive research and more inclusive museum practices.
After a tumultuous year around the globe in the wake of COVID 19, the cultural sector, including museums, galleries, and other institutions, as well as universities, have emerged in 2021 scathed but still functioning. As an academic journal engaged with professional museum practice, it is to be expected that Museum Worlds 9 will reflect the unprecedented impact of the pandemic. If the 2020 issue was difficult to collate and produce, this year’s issue was doubly so: academics and students are busy, stressed, and preoccupied with teaching online, while museum professionals are overworked, or out of work, or at home with their museums closed, and there are few exhibitions and public programs. Even the publishing industry seems to have been severely affected: new titles have been delayed, it is tricky to get books sent to readers due to holdups with freight, and writers, reviewers, and editors are busy, busy, busy.
Bruno Brulon Soares, Jennifer Coombes, Ailish Wallace-Buckland, and Hollie Tawhiao
The Museum of Removals in Vila Autódromo, Rio de Janeiro by Bruno Brulon Soares
Different Histories: A Story of Three Exhibitions in Canberra by Jennifer Coombes
National Treasures: Airing New Zealand’s History on the Small Screen by Ailish Wallace-Buckland
E Hina e! E Hine e! Mana Waahine Maaori/Maoli of Past, Present and Future by Hollie Tawhiao
Sheila K. Hoffman, Aya Tanaka, Bai Xue, Ni Na Camellia Ng, Mingyuan Jiang, Ashleigh McLarin, Sandra Kearney, Riria Hotere-Barnes, and Sumi Kim
Museum of Russian Icons, Clinton, Massachusetts by Sheila K. Hoffman
Local Cultures Assisting Revitalization: 10 Years Since the Great East Japan Earthquake, National Museum of Ethology (Minpaku), Osaka by Aya Tanaka
Tianjin Museum of Finance, Tianjin by Bai Xue
Vegetation and Universe: The Collection of Flower and Bird Paintings, Zhejiang Provincial Museum, Hangzhou by Ni Na Camellia Ng
Three Kingdoms: Unveiling the Story, Tokyo National Museum and Kyushu National Museum, Japan, and China Millennium Monument, Nanshan Museum, Wuzhong Museum, and Chengdu Wuhou Shrine, People’s Republic of China by Mingyuan Jiang
Tempest, Tasmanian Museum and Art Gallery, Hobart by Ashleigh McLarin
Wonders from the South Australian Museum, South Australian Museum, Adelaide by Sandra Kearney
Brett Graham, Tai Moana, Tai Tangata, Govett Brewster Art Gallery, New Plymouth by Riria Hotere-Barnes
The “Inbetweenness” of the Korean Gallery at the Musée Guimet, Paris by Sumi Kim
Report on the Brill-Nuncius Seminar on the Material and Visual History of Science, organized by Sven Dupré (Utrecht University/University of Amsterdam) and Esther van Duijn (Rijksmuseum Amsterdam), 29–30 April 2021
On 9 October 1947, the National Gallery in London opened the Exhibition of Cleaned Pictures. Some seventy masterpieces that had undergone various treatments since 1936 were brought together and exhibited in this groundbreaking show. Much criticized, but also praised by many, the exhibition sparked the so-called “cleaning controversy.” It goes without saying that both the exhibition as well as the ensuing controversy impacted generations of scholars of all stripes. So much so that the exhibition was mentioned in virtually all the lectures that were delivered during the Brill Nuncius seminar held on 29–30 April 2021, which focused on the formation of conservation science in the post-World War II period, from the 1940s through the 1970s.