237331creativecultures-display - Tumblr blog

237331creativecultures-display · 5 years ago

Text

Week 6 PREAMBLE

PREAMBLE[1]

Proposals inform people about an exhibition you would like to develop. Putting a proposal together helps you flesh out your own ideas, and will help others clearly see what you intend to produce. This document also requires that you contextualise your thinking by drawing on content and ideas introduced in the 237.331 course, alongside material you locate on the concepts and concerns that are the focus of your topic.

This is a project for a hypothetical exhibition. You take on the role of curator. The aim is not about developing an exhibition of your own creative practice, but it is intended to extend your inquiry, knowledge and understanding of fields of interest in your degree.

This assignment is also designed to help you to develop skills for writing proposal(s) and application(s) in the industry sector, the art world, and the community.

§ Expected hours of project: Weeks 6 – 11 = 45 hours independent + 15 hours class contact

Contents

A. Exhibition overview

B. Curatorial processes

C. Ethics and/or kaupapa

D. Potential audiences and outreach

E. Budget (estimate, indicative)

F. Visual support

G. Bibliography

Name

Student ID

Exhibition Title

Location(s)

Date of event(s)

Section A: Exhibition Overview

A1. Exhibition Overview

A succinct statement of the exhibition idea/concept, its theme, the subject areas it covers, and why it is worthy of taking forward. [150-175 words]

A2. Objectives `

What are the key objectives of the exhibition? [50-100 words]

A3. Venue / site / location

The venue or site of your exhibition is a critical ingredient to its success. Explain why have you chosen the particular or specific venue or site? [75-150 words]

Section B: Curatorial Processes

B1. Curatorial Position In this section you will explain what types of decisions are guiding your curation processes. This includes explaining the relationships you seek to build in your selection of items within the exhibition. Use the following sub-titles to assist your explanations. [250-300 words in total]

What: Briefly introduce/overview the items of your exhibition in general terms. (The details of your exhibition items are placed in Part F Visual Support).

How: Explain why you have selected the particular items, then explain how the selection helps you to build an overall narrative / curatorial statement.

Narratives and Storytelling: What is the main narrative and its conceptual threads or issues? What relationships does your curating seek to achieve with and between exhibition items?

What: Explain what is represented in your exhibition/display? What is significant about these representations?

Who: Representation: Who is represented and why are they important?

Affect, atmosphere, emotional connections: What do you envisage are the intended qualities of the exhibition on the viewer/visitor/user? And how do intend to achieve this in the exhibition (eg spatially, lighting, sound, etc)? These details can be elaborated on in Section F (below).

B2. Context & other literature

This section contextualises your ideas in relation to the wider field of exhibition and curatorial practices by drawing on a relevant body of existing literature and knowledge. Here, you are asked to demonstrate wider knowledge that informs your curatorial project including the types of exhibitions or displays that exist and are similar to your own ideas, the work of curators or curatorial strategies that inform and help you shape your own project?

Use course resources as well as draw on wider research material. Write this as an integrated and synthesized discussion. [650-800 words]

Section C: Ethics and/or the Kaupapa guiding your project.

C. Demonstrate awareness for ethical concerns

Read through the various documents on Codes of Ethics and Kaupapa Māori Principles. See the folder called Kaupapa Māori –Principles – Ethics. This is on the Stream site for PDFs & URLs. Also, work through the modified Ethics Screening Questionnaire. If your answer to any question(s) is YES, write the question out below and write an understanding of the nature of potential risks involved that you can identify. [no word limit]

Section D: Potential audiences and outreach

D1. Audience/Market Analysis

Target audience

Outline who the exhibition seeks to attract. For example, the exhibition may target specific individuals, particular community groups, families, students, specialists in the field, etc. What projected weekly audience attendance figures do you anticipate? Identify and discuss audience demographic, be as specific as you can. [50-150 words]

D2. Exhibition Outreach Programmes

Discuss exhibition outreach and additional or supplementary programmes that may stem from this project. List any accompanying public programmes that will run in conjunction with the exhibition, such as: floor-talks, workshops, education programmes, family activities, tours, etc. [75-150 words]

D3. Documentation and publication record

How will you document the exhibition as a lasting record? Is this important? If not, why not? Do you intend to publish a catalogue, or documentary, or any other output? Who would be commissioned to write for this? [50 -125 words]

D3. Exhibition Outreach [75-150 words]

Indicate collaborations with other museums, individuals, commercial industries, organisations, or iwi: This could include loan of objects from other museums, individuals or organisations, any consultation undertaken in developing the concept, public programmes, exhibition development. Explain how the support might be acknowledged.

Other venues: Discuss/note the potential for other sites and venues your exhibition project might also travel to, be displayed and seen in.

Marketing and communications: Describe how you will promote the exhibition for example, online, story in local newspaper, radio, museum newsletter, posters, flyers.

Evaluation methods: Explain how you could assess visitor feedback on the exhibition: for example visitor numbers, anecdotal comments, visitor surveys, etc.

Section E: Budget

E1. List all exhibition requirements, prepare a budget of approximate costs.

Itemise expenditure under the fields provided, and add/delete rows as appropriate. Justify exhibition expenditure in broad terms below. Note that these are indicative fields only. Staff may advise on how this form can be adjusted depending on your projects. While there is not an explicit budget provided for you to work within, the objective is to demonstrate some degree of awareness of actual costings. [This section is not counted as part of your overall word count]

Item

Quantity

Cost $

Materials

Fabrication costs

Contractors, assistant(s), casual employment[2]

Participating artist's/designer’s fees

Loans fees

Freight Costs

Research and writer and editor costs (labels etc.)

Consumables 1. (electricity, rates, venue hire, transportation, etc.)

Consumables 2. (list any additional items that will attract a cost, e.g. costume hire, photocopying)

Catering

Miscellaneous

Total estimate costs excluding GST:

Income/revenue (what might your exhibition and related programme earn)

E2. Potential funding avenues

Please list at least 4 x potential sources you might apply to in order to fund this project.

Section F: Visual Support - the nature and scope of your exhibition

[This section is not counted as part of your overall word count]

F1. Floor plans and visual support

Work to a range of between 5-10 exhibition items. Any less defeats the need to demonstrate skills with the scope of the assignment, any more creates too large and demanding project for you to complete necessary details.

Include floor plans to show the layout of exhibition/display items, and/or include maps to indicate exterior site location(s). Create a system that can reference each exhibition item on the floor plan or map. This will allow for cross-referencing between the proposed layout/floor plan/map, with each ‘thing’ marked in its place and the content provided in the following section, below.

F2. List of exhibition items/artefacts/works

Provide a visual list of items each item with a caption. Aim to keep list to 1-2 pages.

Also produce a MLA Works Cited list of all of the items. This includes providing details of each item and also identify if the artefacts/items are on loan from public or private collections, or the provenance of exhibition items. This list will cross-reference to your exhibition layout or map.

Section G: Bibliography

Draw from course set texts and other credible sources you have located to support your A2. Project Proposal. Use MLA bibliographic style for in-text citations (quotes and paraphrasing). Visual representations require MLA style captions.

[This section is not counted as part of your overall word count]

G1. Annotated Bibliography

In support of your investigation, ideas and research include an annotated bibliography of at least 3 texts [75-200 words each text].

G2. Extended Bibliography

Includes resource material cited in the body of proposal, and all other sources that have informed this project assignment.

[1] Acknowledgment: This document has been developed by 237.331 staff guided by project proposal briefs held in the public domain (Te Papa National Services Te Paerangi, and Creative New Zealand Arts Council of New Zealand Toi Aotearoa).

[2] If you require casual assistant(s) for your project use a living wage hourly rate ($21.15/hour in 2019). If you require casual employment for specialised task (e.g. models) use a rate of $27.00/hour.

0 notes

237331creativecultures-display · 5 years ago

Text

Week 5

Week 5 Collections 2

This week we review framing of the museum as institution in relation to collection, curation and display and explore the Design Museum as specific type. We consider how design collections can represent social issues and marginalised identities and the agency of the curators role in enabling social visibility. In Part 2 we look at further examples of personal collections.

Part 1 Dr Jacquie Naismith

In this part of the session we will review how we might understand the 21st century Museum within a continuum of earlier frameworks and consider the idea of " the critical museum" as a 21st century position.

We will then consider the tradition and contemporary manifestations of the Design Museum as specific type of museum institution that carries forward the collection of "Applied Arts" practices. We will consider how these opportunities for display specifically focus on the narratives, experiences, and identities associated with objects and everyday life.

Readings ( see below )

Contemporary Museum Design and Architecture, Introduction ( Lindsay 2016)

The Critical Museum Introduction ( Murawska- Muthesius and Piotrowski )

YouTube links in Lecture

Other resources

JN's Architecture/Museum _ intended for Week 3 ( see below )

JN's Review, and Design Museums Week 5

Self directed Study:

Self-directed Study:1. Using the past exhibitions from Te Papa ( on the Te Papa website and link in the talk uploaded below ) identify an exhibition that has displayed a collection that reflects the identities of a specific social/ cultural group, medium, or social issue. Identify the key drivers behind the collection, curation and exhibition strategies.* Te papa exhibition that has been chosen, that reflects the identities of a specific cultural group: Goldie Lindauer-Famous New Zealand painter, has captured numerous paintings of native Maori people of different ages. During the early days of the colonial period. He captures the identities of this ethnic group of this time, very clearly. Maori people are displayed in his exhibition at tepapa smoking pipes and wearing traditional cultural cloaks.

*Identified key drivers. Identified exhibition strategies.

Curator has arranged paintings next to each other. In a particular arrangement. Showing each different painting next to the other. Some in more detailed frames than others. This arrangement suggests a narrative that the curator is trying to suggest, relating to the paintings.

2. Select an example of a design focused museum (for example, The Dowse, The Design Museum in London, Cooper Hewitt/ Smithsonian New York, The Danish Design Museum in Copenhagen, the Victoria and Albert Museum in London -- or any other of your choice.Identify an exhibition staging a collection, in your area of practice. *Design focused museum: The Metropolitan Museum of Modern Art, New York *Exhibition staging a collection in my area of practice: Sanford Robinson Gifford series of works. Displayed in the gallery.

Identify key drivers behind the collection, curation and exhibition strategies. *Identified key drivers behind the collection, curation and exhibition strategies: Nature theme, all paintings. Curator has intentionally displayed this artist works within an organised lounge like structure. This gives the impression of a narrative, intended by the curator. As he has intentionally used specific artefacts. All displayed are not paintings.https://www.metmuseum.org/art/online-features/metcollects/wigmore Personal collections:

Lee Jensen's Perfume Collection presented by Lee Jensen

Tanya Marriot's My Little Pony collection

Here is Tanya's lecture - the notes are in each slide. Feel free to share it in stream

https://docs.google.com/presentation/d/15g9vwVNEbv6yT-3I5G58x33H_vzUQUfA4lPrBEMzPSI/edit?usp=sharing

This is my collection

https://ponygeddon.wordpress.com/

Any my PHD toy work

http://tanyamarriott.co.nz/portfolio/wild-play-an-eco-fiction-toy-design/

And the books Tanya mentioned about the toy industry are as follows. (Less about collecting, more about consumption. Toy Monster is a particularly horrific read!)

0 notes

237331creativecultures-display · 5 years ago

Text

Week 4

Age of Earthquakes: A Guide to the Extreme Present by Douglas Coupland, Hans Ulrich Olbrist & Shumon Basar. (Penguin UK: 2015)

TASKS

PART 1 (from Malcolm Doidge)

The Real and The Virtual describe two ways of ‘looking’ at collections and exhibitions of objects.

The Real means being physically present with a collection or an object. The virtual means to mediate that experience digitally e.g. using software and various configurations of screens, prints etc to produce and manipulate copies made of real things. Digital mediation as imitation can be novel but deceptive e.g. ‘deep fakes’.

For your digital workbook:

Consider how access to some virtual spaces might advantage or disadvantage our encounters looking at collections. For example, Marina Abramovic tried to make people care about global heating? Was she successful? Can a good ‘digital’ copy be a substitute for ‘the real’ and, under what circumstances?

Virtual environments are also sites for creativity in themselves. In what ways could these go beyond just augmenting Rodney’s ‘civic space’ of the physical gallery collection? Can virtual spaces and collections relevant to marginalised groups participate fully in this civic space?

Considering the above. Find at least 4 other examples of collections (either as objects or as an exhibition) where real things are digitally mediated in ways that make you care about a collection - or not.

-These Guinness world record, documented collections of different artefact listed above. Captivate my interest based on the subject. I believe the digital way that these are documented and advertised online. Could potentially be more deceptive if they were viewed on site. I think it would make a more authentic approach if viewers of the collection, comments and thoughts were listed on these collections. Instead of just the publishers advertisement approaches. Also some of the collections documented, may deceptively be fakes.

-4 EXAMPLE OF COLLECTIONS THAT ARE DIGITALLY MEDIATED IN WAYS THAT MAKE ME CARE ABOUT A COLLECTION.

* Antonio Monteiro (USA) has 20,139 games in his home in Richmond. Ranging from games for consoles from second, to eighth generation, his collection is so big it took eight days to count before he received the record.https://www.guinnessworldrecords.com/news/2019/3/gamer-amasses-worlds-largest-videogame-collection-with-more-than-20000

* Wensy Suen. 1,888 in 2008 and Wendy earned a coveted spot in the Guinness World Records 2010 Edition. https://www.guinnessworldrecords.com/news/2016/12/christmas-comes-early-for-owner-of-the-worlds-largest-collection-of-snow-globes

* The GUINNESS WORLD RECORD for the Largest collections of teaspoons was set by Mr. Des Warren of Mayfield Austrailia, who owns a collection of over 30,000 teaspoons as recognized by the UK Spoon Collectors Club. http://www.worldrecordacademy.org/collections/largest-collection-of-wooden-spoons-world-record-set-by-the-wooden-spoon-museum-219466

* GUINNESS WORLD RECORDS also recognized the world record for the largest collection of wooden walking canes; it is 1,872 and belongs to Dalmacio Fernandez (Spain) in Saldaña, Spain, as verified on 22 August 2016. http://www.worldrecordacademy.org/collections/largest-collection-of-wooden-spoons-world-record-set-by-the-wooden-spoon-museum-219466

Texts to read and reflect on:

1. Seph Rodney. A Post Pandemic manifesto on looking + Black Market Reads podcast.

Peruse Rodney’s four point manifesto on looking and use the interview time line notes and time signatures to locate important points or just enjoy an intelligent and convivial podcast.

2. Rondopilot. Clémentine Deliss and the Metabolic Museum-University.

‘Spam the hang’ and collaborating on curating collections. Looking for new ways to make people care about the collection.

3. 'Is there hope for virtual reality in Art and why Marina Abramovic and Jeff Koons are not the answer'. Hard to say much more but, a warning about throwing money at bad ideas.

* * *

PART 2 (from Kerry Ann Lee)

Read and take notes on:

The Man Who Never Threw Anything Away by Ilya Kabakov (PDF below)

Iiya Kabakov

The man who never threw anything away. Notes.-

first observations-Hoarding

Text mentions ideas about, rubbish, litter and trash, as well as other objects. This makes think of the ideas of hoarding.-as quoted in the text, “the whole world, everything which surrounds me here, is to me a boundless dump with no ends or borders, an inexhaustible, diverse sea of garbage. In this refuse of an enormous city one can feel the powerful breathing of its entire past. This whole dump is full on twinkling stars, reflections and fragments of culture”.

writer speaks a lot in metaphors, relating to the ideas of trash, dump, waste sites etc.

and

Ordinary Things in Ordinary Places: Meditations on Moving by Connie Brown

Writer, Connie brown shares that from childhood, he moved a lot. He explains the moving process as a system.-He notes that he takes images of objects found within the current house he is moving from. He sends them to his friends. He talks of these objects with sentimentality. As if each object holds some sort of value. “I steep myself in questions of where I have been, who I have met, how I got here, how they helped me, and I might head next, before quietly sealing away everything I found and everything this “everything” evoked, to be uncovered next time”.

Choose 3 examples of private or public collections of art and/or design objects. Describe their systems and modes of display.

s the viewer/audience/reader access, encounter, engage or interact with, or use these collection items? (Do they require special permission to access, do they need to travel far or pay admission, or experience it online? Do they require specialist or prior knowledge to understand?)

Upon analysing each collection (either reading as a whole, or in parts), whose stories do they tell? Where, when, why and how?

What’s their provenance? How did this collection come to be? How did specific items end up in this collection?

What seems to be missing from each collection, or deliberately excluded? Why might this be?

Example 1.

The largest collection of hamburger related items belongs to Harry Sperl, (a.k.a. Hamburger Harry, Germany) and consists of 3,724 items, verified in Daytona Beach, Florida, USA, on 20 September 2014.

The audience is able to visually encounter this collection of hamburger related items, only by online or in the Guinness world book of records. This collection does not require specialist knowledge to understand anything in depth of this collection, other than this man collects hamburger related items of all sorts of different forms. These numbers consist of 3,724 items all together.

This collection tells a story of a personal hobby and interest of a man, who highly enjoys collecting hamburger related items. Each item appears to be collected at a different time of this man’s life. I think that each object would carry a sentimental significance to this particular collector. Which makes this collection even more unique?

This collector collected hamburger related items from different stores and places. He does not specifically collect a specific type of hamburger artefact for his particular collection, asides from the fact that they are hamburger related.

Example 2.

Poul Høegh Poulsen (b. 1944) of Rødovre, Denmark, has amassed 101,733 different bottle caps from 183 countries since first beginning his collection in 1956. https://www.guinnessworldrecords.com/world-records/68611-largest-collection-of-bottle-caps

The audience is able to interact with this particular collection by observing it visually online. Or through the Guinness world book of records. There is no necessary admission fee to view this collection. It is a private collection which has been exhibited and captured in this collectors own house, establishment and published online.

this collector has managed to collect 101,733 different bottle caps from over 100 international countries. in total 183 countries. Beginning in 1956. the information given, does not clearly state how this collection began. I personally believe it has started because of the collectors passion for tasting different types of beers.

Example 3.

Angelika Unverhau of Dinslaken, Germany, has the largest collection of ball-point pens with 285,150, excluding duplicates that represent 148 different countries worldwide. https://www.guinnessworldrecords.com/world-records/68621-largest-collection-of-pens-ball-point

This collection is a personal collection of this particular collector, Angelika Unverhau. according to this record she has collected, 285, 150 of ball point pens, from 148 international countries. Audience members do not need to require special permission to view this unique collection online. This collection can also be found in the Guinness book of world records. This collection is a private collection of this particular woman.

Each pen that has been collected internationally by this particular collector, would carry an exotic significance to this collector. I Believe each pen from each international country would carry a story line, and uniqueness to the collector. The dates of the pens are not listed of when they were delivered.

This collection came to be by the collectors specific interest.

Each pen is displayed and exhibited on a shelf.

You’ve just been given a blank cheque. How would you recontextualise selected items from one of these collections for an exhibition of your choice, to be held anywhere around the world? What would your selection criteria be? Who would this exhibition be for? What story do you wish to tell and why?

0 notes

237331creativecultures-display · 5 years ago

Text

Week 3

Week 3 The Museum of Innocence

Objects, Souvenirs, Collections: beginning to make meaning with things and places.

INDEPENDENT STUDY

You are asked to complete 10hours of independent study per week for this course. In this section we set out tasks to complete before next weeks session. Remember, your workbook is a part of the holistic assessment for this course.

In your digital workbook:

Imagine you could bring any 5 (or 6 or 7) things together, to tell a story, to make a point, to illuminate a concept, to reveal an insight, to offer a portrait…

What might those things be?

What connections are being made?

How do different juxtapositions make + change meaning?

Use images - photographs, paintings, sketches, stock footage, video - and sound, to document this nascent collection, and even begin to consider where this collection might be best understood.

Objects listed above-3 rings-personaly done painting, recording of capturing beat-with fingers and of movement.

Concepts i am aiming to deliever are, how sound, movement and sight and objects can create ambience, history and story.

Read and reflect on this weeks texts.

Açalya Allmer offers a perceptive history of the Museum of Innocence, and the complex, meta-fictional relationship between Orhan Pamuk and his fictional characters, within the changing social and cultural context of 20th century Istanbul.

Susan Stewart, who I referenced in my presentation, looks at the nature of the souvenir, and the collection, considering the emotional and philosophic of the thing, and its accumulation, through a series of short case studies, in a very rich text.

Anthropologist James Clifford offers a critique of a 1984 show at the Museum of Modern Art (MOMA), called '"Primitivism' in 20th Century Art: Affinity of the Tribal and the Modern." Here he identifies structures of power and first world paternalism, in a show that he understands as misguided and offensive. This is then an example of the conceptual act of bring things together being highly problematic.

0 notes

237331creativecultures-display · 5 years ago

Text

Week 2

Week 2 Independent Study //

Re-cap the lecture presentation PDF (see PDF below)-

-Gugghenheim Art Museum, New York -lecture pdf presentation

ØIllustrate key ideas of the Exhibitionary Complex (Quotes in this PDF are from Tony Bennett’s text The Exhibitionary Complex) ØThe Great Exhibition 1851 ØAlterity to ‘obedience’ and the national museum

How does the museum exert control over the disciplining of subjects? • How does the museum exert control over the disciplining of subjects? • The ‘National’ museum The museum • an institution devoted to the procurement, care, study, and display of objects of lasting interest or value; also: a place where objects are exhibited • To render things knowable Tony Bennett, The Birth of the Museum, 90. Bennett (The Birth of the Museum, 90) states of public rights: 1. ‘That museums are equally open and accessible to all.’ 2. ‘[Museums] should adequately represent the cultures and values of different sections of the public.’ According to Bennett, these stated principles are ‘a rhetoric often not met by the political rationality embodied in the actual modes of their function.’ Bennet termed the phrase ‘exhibitionary complex.’ This is a theory which explains not what the museum exhibits but what it represents of a nation • Museum’s are places where objects are exhibited, but this does not fully explain the museum’s purpose. • Inside the walls of a museum, the exhibited objects represent, or remark something greater— the nation.

the lecture presentation is very particular about, the definition about what a museum is defined by, how a mueseum presents the objects it entails.

Task 1.

In your digital workbook include at least three entries/key points of Tony Bennett’s theory, the ‘exhibitionary complex.’ In your own words explain how these points link to modes of display, the disciplining of museum visitors, and/or display architecture (interior or exterior). You may consider the logo brand identity of Te Papa in 1997-98 featured in Getting to Our Place.

Tony Bennett’s theory, the exhibitionary complex. -3 points

Barthes has aptly summarized the effects of the technology of vision embodied in the Eiffel Tower. Remarking that the tower overcomes 'the habitual divorce between seeing and being seen', Barthes argues that it acquires a distinctive power from its ability to circulate between these two functions of sight:

An object when we look at it, it becomes a lookout in its turn when we visit it, and now constitutes as an object, simultaneously extended and collected beneath it, that Paris which just now was looking at it.50

A sight itself, it becomes the site for a sight; a place both to see and be seen from, which allows the individual to circulate between the object and subject positions of the dominating vision it affords over the city and its inhabitants.

· How do these points link to modes of display, the disciplining of museum visitors, and or display, architecture (interior or exterior).

I believe these key points link to modes of display because they both discuss ideas around the power of architecture and the power of an object on display. They also examine how atmosphere can manipulate the vision of viewers.

Consider one of the exhibition spaces you visited in week one. Can you determine or suggest ways you think visitors are being disciplined as viewers in their museum experience? This could address the way exhibits are presented, specific architectures, and/or any other aspects about the visitor's museum going experience.

The exhibition space I visited in week one, was the wellington art gallery that displayed an exhibition around the idea of transgender and ethnic groups, such as Polynesia. I believe visitors were disciplined as viewers in their museum experience. By the way the art works, paintings and videos were intentionally arranged and assigned by each other. I think this because the layout manipulates the viewers first opinions of the artefacts. The freedom to observe the artefacts in any form is taken away from them. Preventing them with freedom.

Later in the course we consider outreach and target audiences. Make a few notes about the brand identity of your selected museum/art gallery. Specifically, consider how your selected museum/art gallery brands itself to;

i) communicate its identity as a museum/exhibition space

ii) attract the public, or specific target audiences

- Selected gallery-The wellington art gallery. I think that the wellington art gallery brands itself successfully to communicate its identity as a exhibition space/gallery. the location it is established in is in the heart of the city of wellington. Its large flag advertising the gallery outside is large enough to be seen a mile away.

Undertake some further reading on any one of the following exhibition events raised during discussions in the lecture session.

The International Exhibition 1906-07, Hagley Park, Christchurch

Online archives:

https://christchurchcitylibraries.com/Heritage/Exhibitions/1906/

Image collection:

https://christchurchcitylibraries.com/heritage/photos/topics/1906exhibition/

ii)

The 1940 Centennial Exhibition, Rongatai, Wellington,

https://nzhistory.govt.nz/culture/centennial/centennial-exhibition

Studied reading.

iii)

The Sesquicentennial, 1990 Sesqui 1990 https://teara.govt.nz/en/anniversaries/page-5 https://en.wikipedia.org/wiki/Sesqui_1990

- Sesqui 1990 was a festival that was staged in February 1990 in the city of Wellington, New Zealand-Wikipedia https://en.wikipedia.org/wiki/Sesqui_1990

-A new mood During the 1970s and 1980s there was a major questioning of New Zealand identity. The belief in material progress, the British heritage, the benign role of government and the idealisation of the heroic male pioneer – all of which had loomed large in 1940 – was being challenged. Immigration had made the population more diverse and, above all, there was a strident Māori protest movement which focused on the failure of the government to live up to the Treaty of Waitangi.-https://teara.govt.nz/en/anniversaries/page-5

0 notes

237331creativecultures-display · 5 years ago

Text

Week 1

Have a first-up curious online broad research: what types of museums exist in areas you have potential interest. Thereafter, research three different museums that are of interest to you. At least one must be in Aotearoa New Zealand.

Museums I have potential interest in.

*Te papa museum

*The metropolitan museum of modern art

*Ice Land museum

i. What do these museums do?

These museums hold potential subjects I am interested in. Each museum listed above is located in a completely different country. New Zealand, America New York, and Ice land.

ii. What collections, if any, do they hold?

-Te papa museum, holds art exhibitions that are relevant to n.z society. Those such as Pacifica exhibition’s, that relate to nz pacific society. Te papa also holds indigenous artefacts and objects that mark the significance of the indigenous people of n.z. It explores different forms of the Maori culture, annotating different artefacts and explaining their significance.

*The metropolitan museum of modern art. Holds various artefacts and collections of paintings of renown artists. Located in New York America.

*The Icelandic Phallological Museum

-is a very intriguing museum, because it is renown internationally for, as its curates to a particular theme. Mammal genitals, of different kinds of species. Images of whale genitals are preserved in jars and are displayed. Sculptures of male genitals are sculpted and displayed in silver and gold.

Lewis A History of Museums and Huhana Smith's article on Mana Taonga

Notes on the core text

The history of Museums

-Geoffrey Lewis (Encyclopaedia Britannica)

*A history of the institutions that preserve and interpret the material evidence of the human race, human activity and the natural world.

*Museums, have discernable origins in large collections built up by individuals and groups before the modern era.

*Article traces and defines the etymology of the word museum and its derivatives, next by describing the private collecting conducted in ancient and medieval times, and finally by reviewing the development of modern public museums. From old times to the present day.

1. Etymology

-Museum practices shift over time. In the core text g. lewis describes the origin of the museum, from private collection to public display; there are specific sections that discuss different regions in the world,but for the majority of the text the reaser identifies that the museum is a western construct.

-its beginning is very much part of a Euro-centric enlightenment project.

-such practices exist which are intrinsic to indigenous values, and can be shared and underpin approaches to museum practices.

-Mana Taonga was specifically developed at Te Papa.

PG 7-Introduction

-through a handful of case studies that outline contemporary understandings of how Maori material culture and of the taonga principle, this paper explores how curators actively engage in research processes that re-enhance the inter-relationships between peoples and their cultural material. In so doing it follows the call put forth by such authors as Bennett(1995), Allen (1998) and Gosden and Knowles

The birth of the Museum, 90.

-It is, in the main, characterized by two principles; first the principle of public rights sustaining the demand that museums should be equally open and accessible to all; and second, the principle of representation adequacy sustaining the demand that museums should be equally open and accessible to all; and second, the principle of representational adequacy sustaining the demand that museums should adequately represent the cultures and values of different sections of the public.

-explores different ideas of what a museum is

-Bennett(the birth of the museum, 0) states of public rights:

1-that museums are equally open and accessible to all.

2-(Museums) should adequately represent the cultures and values of different sections of the public.

*put another way as a question: How exactly is the representation of diverse cultures and community groups displayed in a museum?

Modes of display

0 notes