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New Directions for University Museums is intended to help university museum leaders to help them plan strategically in the context of the issues and needs of the 2020s by examining trends affecting them and directions in response to those forces. It will lay out a series of potential directions for university museums in the 21st century using examples from the field. Although university museums are similar to other museums in their topic areas (art, natural history, archaeology, etc.) they are a unique category that requires special consideration. Today university museums are grappling with new forces that are affecting their future: University museums still have a dual responsibility to campus and community, and they still try to mount exhibitions that are attractive to the communities in which they are embedded. But they are rethinking the nature of service to town and gown in response to larger trends around accessibility. It is no longer enough to try to attract visitors; these museums are becoming much more active and outgoing in their outreach to the broader public. They have unparalleled access to academic firepower, but university museum research is no longer the sole province of academics, intended for publication in scholarly journals. In the 2020s, research is being made much more relevant to existential problems of the world. For example, some are bridging the gap between academic research and teaching and the most pressing social issues of our time, such as climate change, the fight against racism and the interface between humans and technology. University museum research is no longer cloistered, and these institutions are finding ways to better leverage the new knowledge yielded by collections-based research for both the university’s and for public benefit. Student engagement and education is still important, but communication is no longer unidirectional (from faculty and museum staff to students). Now student input and co-curation is now invited as learning becomes a two-way street. Moreover, public science communication has become a much more important role for university museums. These are, in effect, the “new directions” to which the title refers. The main thesis of the book is therefore that university museums are becoming much more outward-facing. They are engaging with the public and with the world at large as never before. In effect, they matter more than ever. This is the overarching “new direction”. Within this general approach, there are a number of questions that the book addresses: What are the expectations of university museums in the 21st century from their key stakeholders – university administrations, faculties and students, and the communities in which they are embedded? How are those expectations changing and how are the museums evolving to meet them? How are university museums navigating the minefields of political polarization, “cancel culture” or heightened activism on campus and in society at large? What is the nature of the relationship between the university’s research and teaching mission and the university museum? What trends can we identify, and how can we help the university museum director navigate those trends? The university-donor relationship: what can we learn from a study of donor expectations and the dynamics of university-donor relationships in contemporary society? How is the relationship between the university museum and the broader external community changing? How is the university museum contributing to (or detracting from) the overall relationship between the university and the community? What role is the university museum playing in terms of public communication of research, especially public science communication? This book is for all those who work in, benefit from or are interested in university museums. In particular, it is hoped that the book will help university museum leaders who are embarking on strategic plans understand the common issues that are currently affecting their peers, and provide some context and guidance to those leaders as they chart their own paths for the future and to advance larger goals. For faculty, it will show how the museum can help improve undergraduate teaching and graduate student training via highlights and illustrations of new ways in which faculty departments are cooperating and partnering with their campus museums, and from a university administration point of view, how the museum can help the university achieve its bigger strategic goals (such as helping increase the percentage of successful faculty grant applications).
This book considers key ethical questions in museum policy and practice, particularly those related to issues of collection and display. What does a collection signify in the twenty-first century museum? How does an engagement with immateriality challenge museums’ concept of ownership, and how does that immateriality translate into the design of exhibitions and museum space? Are museums still about safeguarding objects, and what does safeguarding mean for diverse individuals and communities today? How does the notion of the museum as a performative space challenge our perceptions of the object? The scholarship represented in this volume is a testament to the range and significance of critical inquiry in museum ethics. Together, the chapters resist a legalistic interpretation, bound by codes and common practice, to advance an ethics discourse that is richly theorized, constantly changing and contingent on diverse external factors. Contributors take stock of innovative research to articulate a new museum ethics founded on the moral agency of museums, the concept that museums have both the capacity and the responsibility to create social change. This book is based on a special issue of Museum Management and Curatorship.
Genuine participation is about much more than simply "taking part." But many museums' commitment to engagement and participation remains at this superficial level. Full participation involves the sharing of authority, decision-making and power. And letting go of the boundaries between the professional and the public. This book shows what is being done - and how it can be done. "This inspiring volume is packed with thoughtful examples of leading museums around the world involving their visitors in their work to powerful effect." Nina Simon, Executive Director, Santa Cruz Museum of Art & History, and author of The Participatory Museum. "Participation is the only sustainable future for museums and galleries, and this book should inspire us all to get better at embedding it until it becomes part of our museums' DNA." Piotr Bienkowski, Project Director: Our Museum Programme, Paul Hamlyn Foundation. "This is a challenging volume of essays outlining radical museum practice... I highly recommend it to everyone concerned with the potential of the contemporary museum to promote equality and human rights." Dr Viv Golding, Programme Director of Learning & Visitor Studies, School of Museum Studies, University of Leicester.
This book considers key ethical questions in museum policy and practice, particularly those related to issues of collection and display. What does a collection signify in the twenty-first century museum? How does an engagement with immateriality challenge museums’ concept of ownership, and how does that immateriality translate into the design of exhibitions and museum space? Are museums still about safeguarding objects, and what does safeguarding mean for diverse individuals and communities today? How does the notion of the museum as a performative space challenge our perceptions of the object? The scholarship represented in this volume is a testament to the range and significance of critical inquiry in museum ethics. Together, the chapters resist a legalistic interpretation, bound by codes and common practice, to advance an ethics discourse that is richly theorized, constantly changing and contingent on diverse external factors. Contributors take stock of innovative research to articulate a new museum ethics founded on the moral agency of museums, the concept that museums have both the capacity and the responsibility to create social change. This book is based on a special issue of Museum Management and Curatorship.
Museum Matters tells the story of Mexico's national collections through the trajectories of its objects. The essays in this book show the many ways in which things matter and affect how Mexico imagines its past, present, and future.
Museum exhibitions focusing on Native American history have long been curator controlled. However, a shift is occurring, giving Indigenous people a larger role in determining exhibition content. In Decolonizing Museums, Amy Lonetree examines the co
An engaging guide to over 150 art museums and more throughout New England
This book explores how digital culture is transforming museums in the 21st century. Offering a corpus of new evidence for readers to explore, the authors trace the digital evolution of the museum and that of their audiences, now fully immersed in digital life, from the Internet to home and work. In a world where life in code and digits has redefined human information behavior and dominates daily activity and communication, ubiquitous use of digital tools and technology is radically changing the social contexts and purposes of museum exhibitions and collections, the work of museum professionals and the expectations of visitors, real and virtual. Moving beyond their walls, with local and global communities, museums are evolving into highly dynamic, socially aware and relevant institutions as their connections to the global digital ecosystem are strengthened. As they adopt a visitor-centered model and design visitor experiences, their priorities shift to engage audiences, convey digital collections, and tell stories through exhibitions. This is all part of crafting a dynamic and innovative museum identity of the future, made whole by seamless integration with digital culture, digital thinking, aesthetics, seeing and hearing, where visitors are welcomed participants. The international and interdisciplinary chapter contributors include digital artists, academics, and museum professionals. In themed parts the chapters present varied evidence-based research and case studies on museum theory, philosophy, collections, exhibitions, libraries, digital art and digital future, to bring new insights and perspectives, designed to inspire readers. Enjoy the journey!
New Directions in Ceramics explores and responds to contemporary ceramists' use of innovative modes of practice, investigating how change is happening and interpreting key works. Jo Dahn provides an overview of the current ceramics landscape, identifying influential exhibitions, events and publications, to convey a flavour of debates at a time when much about the character of ceramics is in a state of flux. What non-traditional activities does the term 'ceramics' now encompass? How have these practices developed and how have they been accommodated by institutions in Britain and internationally? Work by a wide range of ceramists, including Edmund de Waal, Nina Hole, Clare Twomey, Keith Harrison, Alexandra Engelfriet, Linda Sormin, Walter McConnell and Phoebe Cummings is considered. Following an extended introduction on ceramics in critical discourse, chapters on performance, installation, raw clay and figuration each provide an introductory overview to the area under discussion, with a closer examination of work by key ceramists, and illustrations of relevant examples. The interplay of actions and ideas is a central concern: critical and cultural contexts are woven into the account throughout, and dialogues with practitioners provide a privileged insight into thought processes as well as studio activities.
Established in 1887, the University of Pennsylvania Museum of Archaeology and Anthropology is one of the oldest institutions of its kind in the nation. With quotations from letters, journals, and field notes, and numerous archival photographs, this handsome, oversized volume is not only a history of an influential institution but an important contribution to the history of archaeological and anthropological research.