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Georges Henri Riviere dejó en marzo de 1985 ese mundo de los museos que venía animando desde 1928. Cofundador con Paul Rivett del Museo del Hombre, e iniciador del Museo Nacional de Artes y Tradiciones Populares de Francia, así como primer director del Consejo Internacional de Museos (ICOM-UNESCO), se encuentran también en el origen de los documentos que hoy se desarrollan en numerosos países. G.H.R., como le llamaban sus amigos y discípulos, impartió en la Universidad de París IV, de 1970 a 1982, un curso de museología general que la Asociación de amigos de Georges Henri Riviere pone ahora a disposición de todos los profesionales. Sobre este autor ha escrito Claude Lévi Strauss: ? Inventó completa y desde el principio una museografía purista y elegante, demostrando la existencia de una solidaridad que une a través de los siglos las obras maestras del pasado y las creaciones del presente. En él se reconcilian el gusto por la subversión y un clasicismo estricto, lo refinado y lo rústico, lo culto y lo popular, el rigor y la sensibilidad.
Vols. for 1975- include publications cataloged by the Research Libraries of the New York Public Library with additional entries from the Library of Congress MARC tapes.
How are museums working internationally through exhibitions? What motivates this work? What are the benefits and challenges? What factors contribute to success? What impact does this work have for audiences and other stakeholders? What contributions are they making to cultural diplomacy, intercultural dialogue and understanding? Cosmopolitan Ambassadors first considers the current state of knowledge about international exhibitions and proposes an interdisciplinary analytical framework encompassing museum studies, visitor studies, cultural diplomacy and international cultural relations, cosmopolitanism and intercultural studies. It then presents a comprehensive empirical analysis of an exhibition exchange involving two exhibitions that crossed five countries and three continents, connecting six high profile cultural institutions and spanning almost a decade from initial conception to completion. A detailed comparison of both the intercultural production of international exhibitions by museum partnerships and by the interpretive acts and meaning-making of visitors, reveals the many complexities, challenges, tensions and rewards of international exhibitions and their intersection with cultural diplomacy. Key themes include the realities of international collaboration, its purposes, processes and challenges; the politics of cultural (self-)representation and Indigenous museology; implications for exhibition design, interpretation, and marketing; intercultural competency and museum practice; audience reception and meaning-making; cultural diplomacy in practice and perceptions of its value. This first-ever empirically-grounded, theoretical analysis provides the basis of a new model of museums as polycentral: as places that might produce a kaleidoscopic vision of multiple centres and help to dissolve cultural boundaries by encouraging dialogue, negotiation and the search for intercultural understandings. Guidelines for practice include recommendations for successful international museum partnerships, exhibition development and maximizing the potential of museum diplomacy.
This volume provides an unparalleled exploration of ethics and museum practice, considering the controversies and debates which surround key issues such as provenance, ownership, cultural identity, environmental sustainability and social engagement. Using a variety of case studies which reflect the internal realities and daily activities of museums as they address these issues, from exhibition content and museum research to education, accountability and new technologies, Museums, Ethics and Cultural Heritage enables a greater understanding of the role of museums as complex and multifaceted institutions of cultural production, identity-formation and heritage preservation. Benefitting from ICOM’s unique position in the museum world, this collection brings a global range of academics and professionals together to examine museums ethics from multiple perspectives. Providing a more complete picture of the diverse activities now carried out by museums, Museums, Ethics and Cultural Heritage will appeal to practitioners, academics and students alike.
The number of cultural parks has been steadily increasing in recent years throughout the world. But what is a cultural park? This book provides a detailed answer to this question and sets out the basis for an academic debate that moves beyond the technical narratives that have prevailed to date. It is important to open up the topic to academic scrutiny given that cultural parks are becoming widespread devices being employed by different institutions and social groups to manage and enhance cultural and natural heritage assets and landscapes. The main problem in dealing with this topic is the predominant lack of theory-grounded, critical reflection in the literature about cultural parks. These remain largely conceived as technical instruments deployed by institutions in order to solve an array of problems they must deal with. As cultural parks are generally regarded as positive and constructive tools whose performance is associated with the preservation of heritage, the overcoming of the nature/culture divide, the reinforcing of identity and memory and the strengthening of social cohesion and economic development, this book critically explores these issues through the analysis of the literature on cultural parks. In addition, it provides a novel theoretical conceptualization of cultural parks that is connected with, and underpins, a tentative methodology developed for their empirical analysis.