Griselda Pollock and Joyce Zemans, eds., Museums After Modernism: Strategies of Engagement. Malden, MA, and Oxford, Blackwell Publishing, 2007, 272 pp., 49 illus., 99.99Cdn.hardcover,99.99 Cdn. hardcover, 99.99Cdn.hardcover,41.99 paperback (original) (raw)

2008, RACAR, revue d'art canadienne, Canadian art review

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Muséums Afier Modernism: Strategies of Engagement, edited by Griselda Pollock and Joyce Zemans, explores the evolving role of museums in contemporary society. This collection of essays from various disciplines addresses the need for museums to adapt their practices and engage more meaningfully with diverse audiences. By examining historical and current trends, the contributors offer insights into creating inclusive public spaces within museums that facilitate critical reflection among visitors.

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The Museum in Hiding: Framing Conflict (co-authored with Charles Green and Lyndell Brown, for International Handbooks of Museum Studies: Museum Theory, 2015)

Throughout the twentieth century, artists and theorists have converted the methodologies of art museum curatorship into artistic tropes to be activated and yet concealed. This chapter is composed of two related texts that confront the notion of theory at the museum with reference to artists’ ideas of their works as model “museums in hiding.” However, the present chapter is not concerned with a survey of the many well‐known instances of artists who have mined museum archives (for instance, Mark Dion, Fred Wilson, Andrea Fraser, Martha Rosler) but with a particular instance of museological representation: the atlas. In the first part of the chapter, Lyndell Brown and Charles Green identify what they call the “memory effect” of the artistic atlas through which many artists and theorists – from the early twentieth century until now – have constructed and thus rethought the effect of memory, describing this effect from the point of view of working artists. In the second part, Amelia Barikin presents a case study of Brown and Green’s work – and a specific type of museum – with particular attention to the mnemonic function of the Australian War Memorial. The curatorial synthesis of a modern memory effect is seen both as foundational to the formation of such museums and as a significant driver for the contemporary enactment of memory, in this case within Brown and Green’s art.

Conference: How can the critique of the museum have consequences in the museum? Institutions for a different future

2022

On the occasion of the 20-year anniversary of the /ecm Master Program in Exhibition Theory and Practice at the University of Applied Arts Vienna Thursday, May 5, 2022, 10am–9pm The museum is dead. Long live the museum. This, or something similar, could be the brief summary of numerous conferences, debates, and publications in the field of curating and museum studies over the past 20 years. The critique of the museum has been widely discussed. We have heard a lot about crisis and departure, we have heard about “tired museums” and the “end of the museum,” only to debate in that same breath untapped possibilities for thinking about the museum in new and different ways – as a space of assembly and as a contact zone, as a place of criticism, polyphony, and negotiation. Something seems to be on the move, and so it is not surprising that talk of the “museum of the future” is booming. Claims of diversification, digitalization, and democratization have become ubiquitous, while at the same time institutions are more than ever focused on privatization, economization, competition, and precarization. How can we as critical curators and museologists think and act within these contradictions? And how can critical theory become critical practice?

Another history of museums: from the discourse to the museum-piece

Anais do Museu Paulista: História e Cultura Material, 2013

The history of museums could get inspired on the procedures of material studies and of Anthropology in order to take a new stand and move away from the institutional approach and consider the approach of objects traditionally labelled as museum objects. The so-called "museum pieces" are supposed to have a number of characteristics, particularly some great historical and artistic qualities, sometimes an heritage quality, but above all the ability to make "friends" around the community or around the world. In all these respects, it is proposed here a number of research procedures that may supplement or enrich the directions usually assigned to the history of institutions.

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Message, K and Witcomb, A. 2015, 'Museum Theory: An Expanded Field ', in K. Message and A. Witcomb eds, Museum Theory: An Expanded Field, Blackwell Publishing, Malden, MA, USA, and Oxford, UK, pp.xxxv-lxiii.