No CrossRef data available.
Article contents
Make the Stones Shout: Contemporary museums and the challenge of culture
Published online by Cambridge University Press: 01 January 2024
Abstract
Contemporary museums continue to play a vital role in articulating powerful statements of national and cultural identity for broad and diverse audiences. Focusing on a range of global case studies – from recently instituted displays at the Asian Civilisations Museum in Singapore to the National Museum of the American Indian in Washington DC and from the British Museum in London to the National Gallery of Victoria in Melbourne – the author will consider some of the key challenges facing contemporary museums in their efforts to incorporate new insights and approaches to presenting art and culture in contemporary contexts. A particular focus will be provided on the problem of the repatriation/reunification of ancient sculptures and artworks, of which the Parthenon sculptures is a major case.
- Type
- Articles
- Information
- Diogenes , Volume 58 , Issue 3: Cross-Cultural Art History in a Polycentered World , August 2011 , pp. 35 - 44
- Copyright
- Copyright © ICPHS 2012
References
Alberti, J M M, Bienkowski, P, Chapman, M J, Drew, R (2009) “Should We Display the Dead?” Museum and Society 7(3): 133–149.Google Scholar
Beazley, J D, Robertson, D, Ashmole, B (1929) Suggestions for the New Exhibition of the Sculptures of the Parthenon. London: The British Museum.Google Scholar
Bernard Tschumi Architects, ed. (2009) The New Acropolis Museum. New York: Skira Rizzoli.Google Scholar
Bonn-Muller, E, Powell, E A (2007) “A Tangled Journey Home,” Archaeology 60(5): 34–39.Google Scholar
Coombes, A E (1994) “Blinded by ‘Science’: Ethnography at the British Museum,” in Pointon, M (ed.) Art Apart: Art Institutions and Ideology Across England et North America, pp. 102–119. Manchester and New York: Manchester UP.Google Scholar
Cove, J J (1995) What the Bones Say: Tasmanian Aborigines, Science and Domination. Ottawa: Carleton UP.CrossRefGoogle Scholar
Dorment, R (2010) “Kingdom of Ife at the British Museum,” Telegraph, 1 March, www.telegraph.co.uk/culture/art/art-reviews/7344969/Kingdom-of-Ife-at-the-British-Museum-review.html.Google Scholar
Flynn, T (2004) “The Universal Museum: A Valid Model for the Twenty-first Century?” http://www.tomflynn.co.uk.Google Scholar
Lewis, G (2004) “The Universal Museum: a Special Case?” ICOM News, 1: 3, http://icom.museum/fileadmin/user_upload/pdf/ICOM_News/2004-1/ENG/p3_2004-1.pdf.Google Scholar
McGregor, N (2009) “Global Collections for Global Cities,” in Anderson, J (ed.) Crossing Cultures: Conflict, Migration and Convergence, The Proceedings of the 32nd International Congress in the History of Art, pp. 65–70. Melbourne: Miegunyah Press.Google Scholar
Myers, F (2006) “‘Primitivism’, Anthropology, and the Category of ‘Primitive Art’,” in Tilley, C, et al, Handbook of Material Culture, pp. 267–284. London: Sage.CrossRefGoogle Scholar
Nafziger, J (2009) “Ancestral Remains in Institutional Collections: Proposals for reform,” in Bell, C, Paterson, R K (eds) Protection of First Nations Cultural Heritage: Laws, policy, and reform. Vancouver: UBC Press.Google Scholar
Onyejiako, J (2010) “The ‘Kingdom of Ife’ – African Art at the British Museum,” Pambazuka News, Apr 22nd, http://allafrica.com/stories/201004221048.html?page=2.Google Scholar
Simpson, M (1996) Making Representations: Museums in the Post-colonial Era. London: Routledge.Google Scholar
Wilson, D M, ed. (1989) The Collections of the British Museum. Cambridge: Cambridge UP.Google Scholar