Museums Prejudice And The Reframing Of Difference

How, if it all, do museums shape the ways in which society understands difference? In recent decades there has been growing international interest amongst practitioners, academics and policy makers in the role that museums might play in confronting prejudice and promoting human rights and cross-cultural understanding. Museums in many parts of the world are increasingly concerned to construct exhibitions which represent, in more equitable ways, the culturally pluralist societies within which they operate, accommodating and engaging with differences on the basis of gender, race, ethnicity, class, religion, disability, sexuality and so on. Despite the ubiquity of these trends, there is nevertheless limited understanding of the social effects, and attendant political consequences, of these purposive representational strategies. Richard Sandell combines interdisciplinary theoretical perspectives with in-depth empirical investigation to address a number of timely questions. How do audiences engage with and respond to exhibitions designed to contest, subvert and reconfigure prejudiced conceptions of social groups? To what extent can museums be understood to shape, not simply reflect, normative understandings of difference, acceptability and tolerance? What are the challenges for museums which attempt to engage audiences in debating morally charged and contested contemporary social issues and how might these be addressed? Sandell argues that museums frame, inform and enable the conversations which audiences and society more broadly have about difference and highlights the moral and political challenges, opportunities and responsibilities which accompany these constitutive qualities.

Critically examining the notion of 'world religions', Charles D. Orzech compares five purpose-built museums of world religions and their online extensions. Inspired by the 19th and 20th century discipline of comparative religion, these museums seek to promote religious tolerance by representing religious diversity and by arguing for underlying kinship among religions. From locations in Europe (Marburg, Glasgow and St Petersburg), to North America (Quebec) to Asia (Taipei), each museum advances a particular cultural history. This book shows how the curation of the objects they contain shapes public perceptions of religion, giving material form to the discourses about religion and world religions. Raising important questions about religion and secularity, museum displays and religious piety, Museums of World Religions questions the ideology that informs these museums. Building on recent anthropological work on the agency of religious objects, the author critiques these museums and suggests new approaches to displaying the matter of religion.

Cover -- Title -- Copyright -- Dedication -- CONTENTS -- List of illustrations -- Preface -- Acknowledgements -- Prologue -- 1 Progress and protest -- 2 'I am he that aches with love' -- 3 Coming out stories -- 4 Taking sides -- 5 Museums and the transgender tipping point -- 6 Museum work as human rights work -- Appendix -- References -- Index

Spanning six continents—Europe, Australia, Africa, Asia, North America, and South America—this edited collection offers a comparative, transnational study of Holocaust and human rights museums that foregrounds the overlapping and often contested work these institutions do in narrating and memorializing histories of genocide and human rights abuses for a public audience. Museums that link the Holocaust with social justice, human rights, and genocide prevention have been founded in many countries—for example, the Kazerne Dossin Memorial Museum in Belgium, the Anne Frank House in the Netherlands, and the Johannesburg Holocaust and Genocide Centre in South Africa—making Holocaust and human rights museums a global phenomenon. It is not uncommon for these institutions to court controversy by linking the Holocaust to human rights issues in their locales and abroad. Some begin from a “Holocaust core” and extrapolate from this history to address broader concerns, while others integrate the Holocaust as “a” or, at times, “the” case study par excellence of human rights abuses. Other institutions that may not explicitly focus on the Holocaust continue to engage these representational practices to highlight other instances of genocide and human rights abuses. The case studies in this book illuminate the convergences between Holocaust and human rights museums in their demands for social justice and reparation, educational and activist purpose, design principles, and curatorial choices. But it also shows how these museums can also be sites of contestation around how stories of suffering, courage, and survival are told; whose stories are prioritized; and who is consulted. Although Holocaust museums were once the most influential form of representation of human rights issues in the international museum and heritage fields, they are now in dialogue—visually, spatially, methodologically—with museums and memorial sites concerned with human rights more broadly. Interrogating debates in both museology and Holocaust memory studies, this volume reveals how institutions dedicated to these concerns have become active and influential contributors to local, national, and transnational dialogues about human rights. Contributors: Avril Alba, Brook Andrew, Jennifer Barrett, Jennifer Carter, Danielle Celermajer, Steven Cooke, Donna-Lee Frieze, Shirli Gilbert, Sulamith Graefenstein, Christoph Hanzig, Vannessa Hearman, Rosanne Kennedy, Marcia Langton, Edwina Light, Wendy Lipworth, A. Dirk Moses, Tali Nates, Jessica Neath, Michael Robertson, Amy Sodaro, Garry Walter.

Routledge Companion to Museum Ethics is a theoretically informed reconceptualization of museum ethics discourse as a dynamic social practice central to the project of creating change in the museum. Through twenty-seven chapters by an international and interdisciplinary group of academics and practitioners it explores contemporary museum ethics as an opportunity for growth, rather than a burden of compliance. The volume represents diverse strands in museum activity from exhibitions to marketing, as ethics is embedded in all areas of the museum sector. What the contributions share is an understanding of the contingent nature of museum ethics in the twenty-first century—its relations with complex economic, social, political and technological forces and its fluid ever-shifting sensibility. The volume examines contemporary museum ethics through the prism of those disciplines and methods that have shaped it most. It argues for a museum ethics discourse defined by social responsibility, radical transparency and shared guardianship of heritage. And it demonstrates the moral agency of museums: the concept that museum ethics is more than the personal and professional ethics of individuals and concerns the capacity of institutions to generate self-reflective and activist practice.

The last two decades have seen concerns for equality, diversity, social justice and human rights move from the margins of museum thinking and practice, to the core. The arguments – both moral and pragmatic – for engaging diverse audiences, creating the conditions for more equitable access to museum resources, and opening up opportunities for participation, now enjoy considerable consensus in many parts of the world. A growing number of institutions are concerned to construct new narratives that represent a plurality of lived experiences, histories and identities which aim to nurture support for more progressive, ethically-informed ways of seeing and to actively inform contemporary public debates on often contested rights-related issues. At the same time it would be misleading to suggest an even and uncontested transition from the museum as an organisation that has been widely understood to marginalise, exclude and oppress to one which is wholly inclusive. Moreover, there are signs that momentum towards making museums more inclusive and equitable is slowing down or, in some contexts, reversing. Museums, Equality and Social Justice aims to reflect on and, crucially, to inform debates in museum research, policy and practice at this critical time. It brings together new research from academics and practitioners and insights from artists, activists, and commentators to explore the ways in which museums, galleries and heritage organisations are engaging with the fast-changing equalities terrain and the shifting politics of identity at global, national and local levels and to investigate their potential to contribute to more equitable, fair and just societies.

Exhibitions for Social Justice assesses the state of curatorial work for social justice in the Americas and Europe today. Analyzing best practices and new curatorial work to support all those working on exhibitions, Gonzales expounds curatorial practices that lie at the nexus of contemporary museology and neurology. From sharing authority, to inspiring action and building solidarity, the book demonstrates how curators can make the most of visitors’ physical and mental experience of exhibitions. Drawing on ethnographic and archival work at over twenty institutions with nearly eighty museum professionals, as well as scholarship in the public humanities, visual culture, cultural studies, memory studies, and brain science, this project steps back from the detailed institutional histories of how exhibitions come to be. Instead, it builds a set of curatorial practices by examining the work behind the finished product in the gallery. Demonstrating that museums have the power to help our society become more hospitable, equitable, and sustainable, Exhibitions for Social Justice will be of interest to scholars and students of museum and heritage studies, gallery studies, arts and heritage management, and politics. It will also be valuable reading for museum professionals and anyone else working with exhibitions who is looking for guidance on how to ensure their work attains maximum impact.

What if museum critics were challenged to envision their own exhibitions? In Curatorial Dreams, fourteen authors from disciplines throughout the social sciences and humanities propose exhibitions inspired by their research and critical concerns to creatively put theory into practice. Pushing the boundaries of museology, this collection gives rare insight into the process of conceptualizing exhibitions. The contributors offer concrete, innovative projects, each designed for a specific setting in which to translate critical academic theory about society, culture, and history into accessible imagined exhibitions. Spanning Australia, Barbados, Canada, Chile, the Netherlands, Poland, South Africa, Switzerland, and the United States, the exhibitions are staged in museums, scientific institutions, art galleries, and everyday sites. Essays explore political and practical constraints, imaginative freedom, and experiment with critical, participatory, and socially relevant exhibition design. While the deconstructive critique of museums remains relevant, Curatorial Dreams charts new ground, proposing unique modes of engagement that enrich public scholarship and dialogue.

Museums, Refugees and Communities explores the ways in which museums in Germany, The Netherlands and the UK have responded to the complexities and ethical dilemmas involved in discussing the reasons for, and issues surrounding, contemporary refugee displacements. Building upon an ethnographic study carried out in the UK with refugees from the Democratic Republic of Congo, the book explores how object-led approaches can inspire new ways of thinking about and analysing refugees’ experiences and European museums’ work with their communities. Enlarging the developing body of research on museums’ increasing engagement with human rights and focusing in particular on the social, cultural and practical dimensions of community engagement practices with refugees, the book also aims to inform growing debates on museums as sites of activism. Museums, Refugees and Communities offers an innovative and interdisciplinary examination of museum work with and about refugees. As such, it should appeal to researchers, academics and students engaged in the study of museums, heritage, migration, ethics, community engagement, culture, sociology and anthropology.

The imperatives surrounding museum representations of place have shifted from the late eighteenth century to today. The political significance of place itself has changed and continues to change at all scales, from local, civic, regional to national and supranational. At the same time, changes in population flows, migration patterns and demographic movement now underscore both cultural and political practice, be it in the accommodation of ‘diversity’ in cultural and social policy, scholarly explorations of hybridity or in state immigration controls. This book investigates the historical and contemporary relationships between museums, places and identities. It brings together contributions from international scholars, academics, practitioners from museums and public institutions, policymakers, and representatives of associations and migrant communities to explore all these issues.