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Illustrated with over fifty photos, Civilizing Rituals merges contemporary debates with lively discussion and explores central issues involved in the making and displaying of art as industry and how it is presented to the community. Carol Duncan looks at how nations, institutions and private individuals present art , and how art museums are shaped by cultural, social and political determinants. Civilizing Rituals is ideal reading for students of art history and museum studies, and professionals in the field will also find much of interest here.
Illustrated with over fifty photos, Civilizing Rituals merges contemporary debates with lively discussion and explores central issues involved in the making and displaying of art as industry and how it is presented to the community. Carol Duncan looks at how nations, institutions and private individuals present art , and how art museums are shaped by cultural, social and political determinants. Civilizing Rituals is ideal reading for students of art history and museum studies, and professionals in the field will also find much of interest here.
This book considers the material conditions in which the production and consumption of art takes place, looking at how art is presented to the community and how art museums are shaped by cultural, social and political determinants.
Museums as Ritual Sites critically examines the assumption that museums inherently function as ritual sites and, in turn, are poised to exert influence on cultural and societal change. Bringing together a diverse, international group of interdisciplinary scholars and curators, the volume celebrates and critically engages with Carol Duncan’s seminal work, Civilizing Rituals. Presenting a wide-ranging exploration of how museums function as liminal zones in broader societal contexts, the book discusses major topics identified as functioning at the heart of the above-mentioned paradigm shift: diversity and inclusion, consumption, religion, and tradition. These topics are studied through the lens of their ritual implications in museum practice. Presenting case studies on ethnographic, art, history, community, and memorial practices in museums, the book reflects the diversity of the contemporary international museum field. As such, the volume presents a critical and updated revision of the ritual perspective on museums - both as it was presented by Duncan and as it has since been developed in the field of museum studies. Museums as Ritual Sites will be essential reading for academics and students working in museum studies, heritage studies, cultural anthropology, religious studies, and ritual studies. Museums as Ritual Sites will also be of interest to those working across the humanities and social sciences who are interested in the intersection of museums or archives with indigeneity and decolonization.
Exploring the idea of the museum as a ritual site, this volume looks at contemporary experience across Europe and Africa to reveal the different ways in which various actors involved in cultural production dramatize and ritualize such places
We have long recognized that many objects in museums were originally on display in temples, shrines, or monasteries, and were religiously significant to the communities that created and used them. How, though, are such objects to be understood, described, exhibited, and handled now that they are in museums? Are they still sacred objects, or formerly sacred objects that are now art objects, or are they simultaneously objects of religious and artistic significance, depending on who is viewing the object? These objects not only raise questions about their own identities, but also about the ways we understand the religious traditions in which these objects were created and which they represent in museums today. Bringing together religious studies scholars and museum curators, Sacred Objects in Secular Spaces is the first volume to focus on Asian religions in relation to these questions. The contributors analyze an array of issues related to the exhibition in museums of objects of religious significance from Hindu, Buddhist, and Sikh traditions. The “lives” of objects are considered, along with the categories of “sacred” and “profane”, “religious” and “secular”. As interest in material manifestations of religious ideas and practices continues to grow, Sacred Objects in Secular Spaces is a much-needed contribution to religious and Asian studies, anthropology of religion and museums studies.
In the past, museums often changed the meaning of icons or statues of deities from sacred to aesthetic, or used them to declare the superiority of Western society, or simply as cultural and historical evidence. The last generation has seen faith groups demanding to control 'their' objects, and curators recognising that objects can only be understood within their original religious context. In recent years there has been an explosion of interest in the role religion plays in museums, with major exhibitions highlighting the religious as well as the historical nature of objects.Using examples from all over the world, Religious Objects in Museums is the first book to examine how religious objects are transformed when they enter the museum, and how they affect curators and visitors. It examines the full range of meanings that religious objects may bear - as scientific specimen, sacred icon, work of art, or historical record. Showing how objects may be used to argue a point, tell a story or promote a cause, may be worshipped, ignored, or seen as dangerous or unlucky, this highly accessible book is an essential introduction to the subject.
By bringing together in one place specific objects, materials, and features indicating ritual, religious, or magical belief used by people around the world and through time, this tool will assist archaeologists in identifying evidence of belief-related behaviors and broadening their understanding of how those behaviors may also be seen through less obvious evidential lines. Instruction and templates for recording, typologizing, classifying, and analyzing ritual or magico-religious material culture are also provided to guide researchers in the survey, collection, and cataloging processes. The bulleted formatting and topical range make this a highly accessible work, while providing an incredible wealth of information in a single volume.
"For twenty years now the Barbier-Mueller Museum has mounted exhibitions that have travelled throughout Europe, North America, and the Far East. To people everywhere the museum has presented its extensive collections of tribal art, brought together over three quarters of a century by three generations of a single family." "For the first time ever forty pieces of sculpture from New Ireland, selected for their beauty, rarity, and originality, are being brought out of the museum's storerooms where they have been conserved - several for over half a century - and put on display in the galleries of Paris's Foundation Bismarck, a unique event that ran from 28 April to 28 June 1997. Unlike traditional tribal sculpture, largely limited to a number of conventional forms which native craftsmen have little choice but to respect, the masks and statues of New Ireland are striking for their freedom of invention. Animal and humanlike motifs are combined with infinite variety according to rules laid down by the rites employing such objects."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved
First published in 2004, this volume recognises that there is much more to museums than the documenting, monumentalizing, or theme-parking of identity, history and heritage. This landmark anthology aims to make strange the very existence of museums and to plot a critical, historical and ethical understanding of their origins and history. A radical selection of key texts introduces the reader to the intense investigation of the modern European idea of the museum that has taken place over the last fifty years. Texts first published in journals and books are brought together in one volume with up-to-the-minute and specially commissioned pieces by leading administrators, curators and art historians. The selections are organized by key themes that map the evolution of the debate and introduced by Donald Preziosi and Claire Farago, two considerable critics, who write with the edge and enthusiasm of art historians who have spent their lives working with museums. Grasping the World is an invaluable resource for students and teachers of art history and museum studies.