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Curation as Public Scholarship

Museum Archaeology in a Seventeenth-Century Shipwreck Exhibit

Sarah A. Buchanan


Museum archaeology offers opportunities to practice artifact storytelling, engaging visitors on the strength of objects that have been conserved and curated. Public appreciation of science and history is bolstered when museums exhibit objects of singular historic significance in a manner that allows visitors to build an experiential understanding of the objects’ provenance. Archaeologists and conservators began reassembling the 330-year-old French ship La Belle as a live-action exhibition on 25 October 2014 in the Bullock Texas State History Museum. The collaboration broke new ground by inviting visitors, in person and via streaming online video, to watch the experts rebuild the ship in full public view. Until, and after, the reconstructed ship hull was moved into its permanent first-floor gallery location on 21 May 2015, the exhibition brought archaeologists and international museum visitors into the same room to learn. The article interprets these events toward reimagining museum object curation as public scholarship.

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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

objects to life as the exhibition drew strength from the objects’ return. There were many other events that took place that led to our panel being organized, what might be called an intervention (not a word that we as Indigenous people are now comfortable

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Conjunctures and Convergences

Remaking the World Cultures Displays at the National Museum of Scotland

Henrietta Lidchi

has been enduringly debated in internationalist terms, and the master planning process drew strength from wider policy discussions about the relevance of cultural institutions and encouraged curators to argue for a renewal of museums’ mandate in regard

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“We Owe a Historical Debt to No One”

The Reappropriation of Photographic Images from a Museum Collection

Helen Mears

preoccupation, asking instead whether the focus on ethnic identity has inhibited genuine political change in Burma ( Farrelly 2016b ; Laoutides and Ware 2016 ), the strength of attachment to an ethnic identity by Burma’s populations shows no signs of

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Sheila K. Hoffman, Sarita Sundar, Masaaki Morishita, Fabien Van Geert, and Sharon Ann Holt

approach allowed for strong conceptual, aural, and visual components that would feed off the natural strengths of the museum while still creating a fresh experience of it. The welcome to this potentially challenging exhibition is subtle, almost passing

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Holistic Houses and a Sense of Place

Contextualizing the Bishop Museum Hale Pili Exhibit through Archaeological Analyses

Jennifer G. Kahn

While the number of researchers at the Bishop Museum in Honolulu has been drastically reduced over the last three decades, a real strength of the museum lies in its archaeology and ethnology collections. These includes unique artifact types and

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Steamships to Suffragettes

A Case Study of Interpretative Museology, Public Engagement, and Digital Development

Nicolas Bigourdan, Kevin Edwards, and Michael McCarthy

museum’s strength, widespread acceptance and validity as a potent social force.” Furthermore, as argued by Richard Sandell (2003: 45) , museums can have the ability at a community level to become “a catalyst for social regeneration, empowering

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Kylie Message, Masaaki Morishita, Conal McCarthy, and Lee Davidson

Mistukoshi department store and swiftly deprives the public of their individual faces. Nevertheless, the strength of this book lies in its discussion of the earlier modern “imperial” period, and that is enough for it to be evaluated as a major contribution to

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Steven J. Hoffman, Fanny Wonu Veys, Joseph P Feldman, Natasha Barrett, Elsa Lenz Kothe, Antonino Crisà, Sayantan Mukhopadhyay, Masaaki Morishita, and Ewa Klekot

the area. The Ex-Prisoners of War Association of Australia indicated the importance of these chapels by observing that “‘service men found vital solace and strength in their belief in God’ as ‘they worshipped together in makeshift chapels built by

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Kylie Message, Eleanor Foster, Joanna Cobley, Shih Chang, John Reeve, Grace Gassin, Nadia Gush, Esther McNaughton, Ira Jacknis, and Siobhan Campbell

, new sets of problems arise in the museum world. The structure and chronological format give strength to Jenkins's argument that objects shape our understanding about the world. In Chapter 2, “The Birth of the Public Museum,” she paints a picture of how