Читать книгу Museum Practice - Группа авторов - Страница 9
Оглавление
LIST OF ILLUSTRATIONS
Color plate section
6.1 Music in the foyer at Tel Aviv Museum of Art, Israel
6.2 Rehanging one of the sixteenth-century Gideon Tapestries at the National Trust’s Hardwick Hall, Derbyshire
6.3 Collection of ceramics at the Stoke Potteries Museum, UK
11.1 The Ancient Worlds gallery, Manchester Museum
14.1 Sleeping and Dreaming exhibition at Wellcome Collection in London
17.4 “F is for Fire Engine” in Minnesota A to Z, Minnesota History Center Museum, St. Paul
18.1 Model of Professor Baldwin Spencer, biologist, anthropologist, and honorary director of the National Museum of Victoria (1899–1928) on display in the exhibition Bunjilaka, 2001.
18.3 Exhibition Hitler and the Germans. Nation and Crime, Berlin 2010. German Historical Museum
18.4 Exhibition The Image of the “Other” in Germany and France from 1871 to the present, Paris 2008, Berlin 2009. German Historical Museum
18.6 Rebecca Belmore, Rising to the Occasion, 1987. Art Gallery of Ontario
18.7 Montreal Museum of Fine Arts, Founding Identities gallery
20.1 Dancers provide a traditional ceremonial “Welcome to country” upon the return of Larrakia ancestral remains, Mindil Beach, Darwin, Northern Territory, November 2002. National Museum of Australia
21.1 Detail of a panel from the My Treasure community exhibition (Mid-Antrim and Causeway Museum Service) displayed at Coleraine Town Hall, Northern Ireland, July–August 2013
23.1 The “Arrivals” display in the exhibition Blood, Earth, Fire | Whāngai Whenua Ahi Kā, which opened in 2006 at the Museum of New Zealand Te Papa Tongarewa, Wellington
24.1 Formal education versus learning through participation: the Victorian classroom and teacher at the Ragged School Museum, London
24.2 Two participants examining a traditional coffee pot as a part of the Asian Women’s Documenting the Home project at the Geffrye Museum, London
A2.1 Walk among Worlds, an installation by Máximo González, October 12 – November 10, 2013, at the Fowler Museum, UCLA
A2.2 Opening performance of the community-based collaborative exhibition Death Is Just Another Beginning, National Museum of Taiwan, Taipei
A2.5 Exhibit Gallery, Kokdu Museum, Seoul
A2.6 Box of Promises, collaborative work between George Nuku (Māori) and Cory Douglas (Squamish/Haida) in the exhibition Paradise Lost? Great Hall, Museum of Anthropology, UBC, Vancouver
A2.8 Imprint, choreographed by Henry Daniel and Owen Underhill. Great Hall, Museum of Anthropology, UBC, Vancouver
Chapter illustrations
0.1 Integrated model of museum studies incorporating research, practice, training, and education
3.1 Policy, funding, and accountability cascade: a map of central government’s support for the cultural sector
4.1 Participant responses to the question: “Why this change in museum ethics now?”
4.2 The three spheres of contemporary ethics discourse
4.3 Participant responses to “Key issues that museums are grappling with in the twenty-first century”
4.4 Participant responses to “The moral agency of museums”
4.5 Participant responses to “Hopes and aspirations for shared guardianship”
4.6 Reflections on the most insightful elements of the five workshops
4.7 Reflections on the most challenging issues from the five workshops
6.1 Music in the foyer at Tel Aviv Museum of Art, Israel
6.2 Rehanging one of the sixteenth-century Gideon Tapestries at the National Trust property Hardwick Hall, Derbyshire
6.3 Collection of ceramics at the Stoke Potteries Museum
6.4 Local participants in the Moving Here project visit New Walk Museum, Leicester
8.1 Invitation to Tate Britain Summer Party, June 21, 2010. From Not If But When: Culture beyond Oil, Platform, November 29, 2010
8.2 “Human Cost” by Liberate Tate, 2010. Photo from front cover of Not If But When: Culture beyond Oil, Platform, November 29, 2010
10.1 The x-axis (collection order and disorder)
10.2 The x-axis (collection order and disorder) and y-axis (collection growth and loss)
10.3 The x-axis (collection order and disorder), y-axis (collection growth and loss), and z-axis (preservation and deterioration)
11.1 The Ancient Worlds gallery, Manchester Museum
11.2 A botany assortment from the collections of the Manchester Museum
11.3 A “bioblitz” or collecting expedition for the Trees project, Whitworth Park, Manchester
12.1 Interactive pest viewer, KE EMu database
12.2 An example of interpretive content on the “Variety of Life,” part of a free smart phone and tablet application for the Living Worlds gallery, Manchester Museum
12.3 Results for a search on “Captain Cook” from Collections Online, Museum of New Zealand Te Papa Tongarewa
12.4 Matches for “William Hunter Ramsay” from the Europeana project, harvested from the UK’s Culture Grid
12.5 Screen shot of the Your Paintings Tagger showing an oil painting of Sir Ian Colquhoun of Luss (ca. 1933) by Herbert James Gunn, from the collection of the West Dunbartonshire Council
12.6 Screen shot of YouTube clip on the investigation of Lindow Man, Collective Conversations project, Manchester Museum
13.1 The Burra Charter process, with its sequence of investigations, decisions, and actions
14.1 The exhibition Sleeping and Dreaming at Wellcome Collection, London
16.1 A view of the vertebrate paleontology gallery after completion. The exhibition is titled A Changing World: Dinosaurs, Diversity, and Drifting Continents. Museum of Texas Tech University
16.2 Life cycle of a product or system
16.3 Rolled-out model, 2011
16.4 Linear model
17.1 Image from ART/artifact: African Art in Anthropology Collections, Center for African Art, New York, 1988
17.2 Image from ART/artifact: African Art in Anthropology Collections, Center for African Art, New York, 1988
17.3 “Taking Care” section of the Families exhibition. Minnesota History Center Museum, St. Paul
17.4 “F is for Fire Engine” in Minnesota A to Z, Minnesota History Center Museum, St. Paul
17.5 Minnesota’s Greatest Generation exhibit in the form of a crashed World War II aircraft. Minnesota History Center Museum, St. Paul
18.1 Model of Professor Baldwin Spencer, biologist, anthropologist, and honorary director of the National Museum of Victoria (1899–1928) on display in the exhibition Bunjilaka, 2001
18.2 Exhibition Hitler and the Germans. Nation and Crime, Berlin 2010. View of the section “Hitler and the Germans 1933–1945.” German Historical Museum
18.3 Exhibition Hitler and the Germans. Nation and Crime, Berlin 2010. View of the section “Hitler and the Germans 1933–1945.” German Historical Museum
18.4 Exhibition The Image of the “Other” in Germany and France from 1871 to the present, Paris 2008, Berlin 2009. German Historical Museum
18.5 Exhibition The Image of the “Other” in Germany and France from 1871 to the present, Paris 2008, Berlin 2009. German Historical Museum
18.6 Rebecca Belmore, Rising to the Occasion, 1987. Art Gallery of Ontario.
18.7 Montreal Museum of Fine Arts, Founding Identities gallery, 2011
19.1 Alison Brown and Andy Black Water examining the draft manuscript of a book on the Kainai Photos Project. Pitt Rivers Museum
19.2 Tom Tettleman and Richard LeBeau in front of the Ghost Dance Shirt after its return by Glasgow Museums to the Lakota Sioux, at South Dakota State Historical Society Museum
20.1 Dancers provide a traditional ceremonial “Welcome to country” upon the return of Larrakia ancestral remains, Mindil Beach, Darwin, Northern Territory, November 2002. National Museum of Australia
20.2 Larrakia families welcome the remains of their ancestors, Mindil Beach, Darwin, Northern Territory, November 2002. National Museum of Australia
21.1 Detail of a panel from the My Treasure community exhibition (Mid-Antrim and Causeway Museum Service) displayed at Coleraine Town Hall, Northern Ireland, July–August 2013
23.1 The “Arrivals” display in the exhibition Blood, Earth, Fire | Whāngai Whenua Ahi Kā, which opened in 2006 at the Museum of New Zealand Te Papa Tongarewa, Wellington
23.2 The computer interactive in the “Arrivals” display in the exhibition Blood, Earth, Fire | Whāngai Whenua Ahi Kā, 2006, Te Papa, Wellington
24.1 Formal education versus learning through participation: the Victorian classroom and teacher at the Ragged School Museum, London
24.2 Two participants examining a traditional coffee pot as a part of the Asian Women’s Documenting the Home project at the Geffrye Museum, London
24.3 Older men with dementia in a day center using archive photographs of footballers to recall their past memories of playing and watching
24.4 Year 9 students (aged 13/14) in the British Museum using a Samsung tablet to access an interactive Augmented Reality activity
24.5 Youth forum/paid young consultants group discussing exhibitions, interpretation, marketing, and event-planning, Geffrye Museum, London
A2.1 Walk among Worlds, an installation by Máximo González, October 12 – November 10, 2013, at the Fowler Museum, UCLA
A2.2 Opening performance of the community-based collaborative exhibition Death Is Just Another Beginning, National Museum of Taiwan, Taipei
A2.3 Museum, Academia Sinica, Taipei
A2.4 Atrium, Capital Museum, Beijing
A2.5 Exhibit Gallery, Kokdu Museum, Seoul
A2.6 Box of Promises, collaborative work between George Nuku (Māori) and Cory Douglas (Squamish/Haida) in the exhibition Paradise Lost? Great Hall, Museum of Anthropology, UBC, Vancouver
A2.7 Entrance to The Marvellous Real: Art from Mexico 1926-2011, Audain Gallery, Museum of Anthropology, UBC, Vancouver
A2.8 Imprint, choreographed by Henry Daniel and Owen Underhill. Great Hall, Museum of Anthropology, UBC, Vancouver
