material (a goal of what has been called “digital repatriation” or “digital return”; see Bell et al. 2013 and Geismar 2014 ). Indeed, the Society for American Archaeology’s Code of Ethics encourages archaeologists to relinquish what it describes as
Dig Less, Catalog More
Julia A. King
In this article I explore how socially engaged artistic practice draws upon hybridity as a methodological approach advancing social justice. Through the case study of Theaster Gates’s To Speculate Darkly (2010), a project commissioned by the Chipstone Foundation of Milwaukee, Wisconsin, and shown at the Milwaukee Art Museum, I consider how socially engaged practice mobilizes continually shifting notions of postcolonial hybridity to help museums make meaningful symbolic reparations toward equality and inclusivity. The research is based on interviews I conducted with Gates and with the director and the curator of the Chipstone Foundation. The article will demonstrate that, with hybridity, artists have the potential to subvert hegemonic power structures and to inspire reconciliations between museums and communities. While such reconciliations generally involve complex processes with no clear end point, the evolving concept of hybridity is an effective vehicle to foster pluralistic institutions, cultural organizations characterized by practices built upon shared authority, reciprocity, and mutual trust. Theaster Gates refers to the methodology of hybridity as ‘temple swapping’, an exchange of values between seemingly unlike groups, in his case the black church and the museum, to explore their interconnections and relational sensibilities. Temple swapping, I aim to show, is a valuable metaphor through which to examine socially engaged artistic practice and its implications for museum ethics.
Imagining a Cosmopolitan Museology
In recent years it has been asked whether it is time to move ‘beyond the national museum’. This article takes issue with this assertion on the grounds that it misunderstands not only museums as cultural phenomenon but also the ways in which globalization, nationalism, and localism are always enmeshed and co-constitutive. The article begins by considering theories of globalization, postnationalism, and cosmopolitanism and their relevance for national museums in the European context. Specific theories of cosmopolitanism are subsequently further explored in relation to two museum examples drawn from the National Museum of Scotland in Edinburgh and the Museum of European Cultures in Berlin. In different ways both examples demonstrate the potential for museums to engage visitors with ideas of cosmopolitanism, globalization, and postnationalism by revisiting, reframing, and reinterpreting existing national collections and displays. In the process the article makes the case for the merits of a nationally situated approach to cosmopolitanism in European museums. At the same time it acknowledges some of the potential limits to such endeavors. The article concludes by imagining what a ‘cosmopolitan museology’ would offer in terms of practice, politics, and ethics.
Multigenerational Perspectives on American Archaeology-Museum Relationships
April M. Beisaw and Penelope H. Duus
, Mark R. Harrington, and Arthur C. Parker, we can read about their struggles with the ethics of collecting Native America. Moorehead and Skinner’s 1916 Susquehanna River Expedition (SRE) serves as a case study. Figure 1 shows the locations of most
Making Object Biographies
Margareta von Oswald and Verena Rodatus
, the Netherlands, 21 which created a research theme dedicated to “Collections, Ethics and Responsibility.” The situation is clearly one for optimism, but it does not mean that cosmo-optimistic futures are about to be achieved. Commenting on our
Julie Gough, Jonathan Jones, Kelli Cole, Shari Lett, Glenn Iseger-Pilkington, Billie Lythberg, Jennifer Walklate, Jeanine Nault, Jake Homiak, Joshua A. Bell, and Natasha Barrett
practice a “pedagogy of feeling,” rather than a “pedagogy of listening.” But while suggesting such positive notions (and more of interest to myself) she also foregrounded the importance of an “ethics of discomfort”—that which has the power to disturb is
: Commodities in A Cultural Perspective . Cambridge : Cambridge University Press . 10.1017/CBO9780511819582 Appiah , Kwame Anthony . 2006 . Cosmopolitanism: Ethics in A World of Strangers . London : Penguin . Basu , Paul , and Wayne Modest , eds
A Case Study of Interpretative Museology, Public Engagement, and Digital Development
Nicolas Bigourdan, Kevin Edwards, and Michael McCarthy
February 2013 ). Smith , Megan. H. 2010 . “ A Necessary Duty, A Hideous Fault: Digital Technology and the Ethics of Archaeological Conservation .” Master’s thesis , Texas A&M University . Smithsonian Institution . 2010 . Creating a Digital
Engaging Anthropological Legacies toward Cosmo-optimistic Futures?
Sharon Macdonald, Henrietta Lidchi, and Margareta von Oswald
“cosmo-optimistic.” REFERENCES Appiah , Kwame Anthony . 2007 . Cosmopolitanism: Ethics in a World of Strangers . London : Penguin . Beck , Ulrich . 2006 . Cosmopolitan Vision . Cambridge : Polity . Benhabib , Seyla . 2006 . Another
Digital Archives and Memory Production
memorializing partition, where they attempt to answer questions on ethics and education in cooperation with academics and the larger public. 9. See www.indianmemoryproject.com/about . REFERENCES Bohman , James . 2004 . “ Expanding Dialogue: The Internet, the