Ken Gorbey is a remarkable man who for 15 years was involved with developing and realising the revolutionary cultural concept that became Te Papa Tongarewa Museum of New Zealand. Then in 1999 he was headhunted by W. Michael Blumenthal to salvage the Jewish Museum Berlin, which was failing and fast becoming a national embarrassment. Led by Gorbey, a young, inexperienced staff, facing impossible deadlines, rose to the challenge and the museum, housed in Daniel Libeskind's lightning-bolt design, opened to acclaim. As Blumenthal writes in the foreword: 'I can no longer remember what possessed me to seriously consider actually reaching out to this fabled Kiwi as a possible answer to my increasingly serious dilemma ...' but the notion paid off and today the JMB is one of Germany's premier cultural institutions. Te Papa to Berlin is a great story--a lively insider perspective about cultural identity and nation building, about how museums can act as healing social instruments by reconciling dark and difficult histories, and about major shifts in museum thinking and practice over time. It is also about the difference that can be made by a visionary and highly effective leader and team builder.
Refocusing Ethnographic Museums through Oceanic Lenses offers a collaborative ethnographic investigation of Indigenous museum practices in three Pacific museums located at the corners of the so-called Polynesian triangle: Bernice Pauahi Bishop Museum, Hawai‘i; Museum of New Zealand Te Papa Tongarewa; and Museo Antropológico Padre Sebastián Englert, Rapa Nui. Since their inception, ethnographic museums have influenced academic and public imaginations of other cultural-geographic regions, and the often resulting Euro-Americentric projection of anthropological imaginations has come under intense pressure, as seen in recent debates and conflicts around the Humboldt Forum in Berlin, Germany. At the same time, (post)colonial renegotiations in former European and American colonies have initiated dramatic changes to anthropological approaches through Indigenous museum practices. This book shapes a dialogue between Euro-Americentric myopia and Oceanic perspectives by offering historically informed, ethnographic insights into Indigenous museum practices grounded in Indigenous epistemologies, ontologies, and cosmologies. In doing so, it employs Oceanic lenses that help to reframe Pacific collections in, and the production of public understandings through, ethnographic museums in Europe and the Americas. By offering insights into Indigenous museologies across Oceania, the coauthors seek to recalibrate ethnographic museums, collections, and practices through Indigenous Oceanic approaches and perspectives. This, in turn, should assist any museum scholar and professional in rethinking and redoing their respective institutional settings, intellectual frameworks, and museum processes when dealing with Oceanic affairs; and, more broadly, in doing the “epistemic work” needed to confront “coloniality,” not only as a political problem or ethical obligation, but “as an epistemology, as a politics of knowledge.” A noteworthy feature is the book’s layered coauthorship and multi-vocality, drawing on a collaborative approach that has put the (widespread) philosophical commitment to dialogical inquiry into (seldom) practice by systematically co-constituting ethnographic knowledge. Further, the book shapes an “ethnographic kaleidoscope,” proposing the metaphor of the kaleidoscope as a way of encouraging fluid ethnographic engagements to avoid the impulse to solidify and enclose differences, and remain open to changing ethnographic meanings, positions, performances, and relationships. The coauthors collaboratively mobilize Oceanic eyes, bodies, and sovereignties, thus enacting an ethnographic kaleidoscopic process and effect aimed at refocusing ethnographic museums through Oceanic lenses.
Published to mark 20 years since the landmark opening of Te Papa Tongarewa Museum of New Zealand in 1998, this illustrated book by well-known museum studies academic Conal McCarthy examines the vision behind the museum, how it has evolved in the last two decades, and the particular way Te Papa goes about the business of being a national museum in a nation with two treaty partners. McCarthy provides a warm and at times critical appraisal of its origins, development, innovations, and reception, including some of its key museological features which have drawn international attention, highlights of exhibitions, collections and programs over its first twenty years, and the issues that have sparked national and local debate.
What is the future of curatorship? Is there a vision for an ideal model, a curatopia, whether in the form of a utopia or dystopia? Or is there a plurality of approaches, amounting to a curatorial heterotopia? This pioneering volume addresses these questions by considering the current state of curatorship. It reviews the different models and approaches operating in museums, galleries and cultural organisations around the world and discusses emerging concerns, challenges and opportunities. The collection explores the ways in which the mutual, asymmetrical relations underpinning global, scientific entanglements of the past can be transformed into more reciprocal, symmetrical forms of cross-cultural curatorship in the present, arguing that this is the most effective way for curatorial practice to remain meaningful. International in scope, the volume covers three regions: Europe, North America and the Pacific.
The study of the museum visitor has undergone radical transformation. Each author here has asked unfamiliar questions and responded with fresh answers. Some of these questions involve the visitor's identity, what she brings to her museum experience. Can we gain entry into this experience? Does more technology really increase access to the objects themselves? Others probe the very nature of museum going and exhibition making, demanding that we reexamine the traditional exhibition to reposition the visitor and her meaning-making at the centre. The volume provokes imaginative research and encourages new conclusions.
AN INTERNATIONAL BESTSELLER Featured in Entertainment Weekly, People, The Millions, and USA TODAY “An unforgettable and resplendent novel which will take its place among the great historical fiction written about World War II.” —Adriana Trigiani, bestselling author of The Shoemaker's Wife A young girl flees Nazi-occupied Germany with her family and best friend, only to discover that the overseas refuge they had been promised is an illusion in this “engrossing and heartbreaking” (Library Journal, starred review) debut novel, perfect for fans of The Nightingale, Lilac Girls, and The Tattooist of Auschwitz. Berlin, 1939. Before everything changed, Hannah Rosenthal lived a charmed life. But now the streets of Berlin are draped in ominous flags; her family’s fine possessions are hauled away; and they are no longer welcome in the places they once considered home. A glimmer of hope appears in the shape of the St. Louis, a transatlantic ocean liner promising Jews safe passage to Cuba. At first, the liner feels like a luxury, but as they travel, the circumstances of war change, and the ship that was to be their salvation seems likely to become their doom. New York, 2014. On her twelfth birthday, Anna Rosen receives a mysterious package from an unknown relative in Cuba, her great-aunt Hannah. Its contents inspire Anna and her mother to travel to Havana to learn the truth about their family’s mysterious and tragic past. Weaving dual time frames, and based on a true story, The German Girl is a beautifully written and deeply poignant story about generations of exiles seeking a place to call home.
Written over a thirty-five year career, the essays in Civilizing the Museum introduce students to the powerful, sometimes contested, and often unrealized notion that museums should welcome all because they house the collective memory of all. Drawing on her experience working in and with museums in the US and throughout the world, Author Elaine Heumann Gurian explores the possibilities for making museums more central and relevant to society. The twenty-two essays are organized around five main themes: museum definitions civic responsibility and social service architectural spaces exhibitions spirituality and rationality. And these themes address the elements that would make museums more inclusive such as: exhibition technique space configurations the personality of the director the role of social service power sharing types of museums the need for emotion humour and spirituality. Without abandoning the traditional museum processes, Gurian shows how museums can honour tradition whilst embracing the new. Enriched by her experience in groundbreaking museums, Gurian has provided a book that provokes thought, dialogue and action for students and professionals in the field to realize the inclusive potential of museums.
Peter Sloterdijk sees our digitalized world in a "growing spatial crisis", accompanied by the danger of a "general virtuality of all relationships". Others view the digitalization of the world as opening up a grassroots democratic space that allows everyone access to culture. Against this backdrop, this anthology examines the spatial characteristics of the museum – between physical place and virtual space. The chapters collected here approach the museum space from various disciplinary perspectives, such as philosophy, history, art history, architecture, scenography, museum education and curatorial studies. At the same time, the contributions by international museum experts are assigned to different literary genres – fundamental considerations alternate with think pieces, case studies and interviews.
The Memorial to the Murdered Jews in Berlin, inaugurated in 2005, and the Monument to the Victims of State Terrorism within the Memory Park (Parque de la Memoria) in Buenos Aires, partially unveiled in 2007, have been controversial from start to finish. While these sites differ in many respects, Germany and Argentina share a history of dictatorial regimes that murdered civilians on a massive scale. The Nazis implemented the genocide of millions of Jews and other minorities during World War II. In Argentina, the junta-led state repression was responsible for the “disappearance” and subsequent murder of thousands of civilians between 1976 and 1983. Decades later, new governments in Germany and Argentina acknowledged the responsibility of their respective states for these mass murders by memorializing the victims with a national monument in the capital city for the first time. This study of two memorials develops a model and method for analyzing the memorialization of recent tragedies that share several basic characteristics: the state creates a self-indicting national memorial to the victims of state-sponsored mass murder in the absence of their bodies. Analyzed as sites of conflicting performances and as performances themselves, these memorials illuminate the ways in which people engage with them, and how an architecture of absence triggers embodied memory through somatic experience. While death tourism and architourism are a key to their success in attracting visitors, they also pose a threat to their commemorative role. Besides assessing the success and failure of these memorials, Sion explores the ways in which these sites are paradigmatic and offers a model for analyzing a transnational circuit of commemorative practices.
Te Papa holds New Zealands national art collection, whose origins date back to 1865 and the establishment of the then Colonial Museum (later the Dominion and then the National Museum). Built up over the years by a succession of directors and curators, the collections 40,000 works track New Zealand history and the art movements within it. In this generous book, Te Papas curators and a wide range of other expert art writers showcase the strengths of the New Zealand art collection by discussing around 270 works. From very early colonial work through to recent acquisitions, and including photography, their essays offer insights into the art, the artists and the context and issues that drove them. The book is complemented by biographies of all the featured artists, making it a valuable resource.
