scholarly journals NON-COLLECTIONS? OLD COLLECTIONS OF REPRODUCTIONS AND DOCUMENTING PHOTOGRAPHS IN MUSEUMS: SELECTED EXAMPLES

Muzealnictwo ◽  
2021 ◽  
Vol 62 ◽  
pp. 153-162
Author(s):  
Kamila Kłudkiewicz
Keyword(s):  
20Th Century ◽  
Mass Scale ◽  
Museum Collection ◽  
Museum Objects ◽  
Hierarchical Relation

Elizabeth Edwards, a British researcher into the relations among photography, history, and anthropology, used the term of non-collections to define numerous photographs of unidentified status which can be found in contemporary museums. They are not collector’s items, such as e.g., artistic photography or unique specimens of the first photography techniques. What she rather means are various items: prints, slides, photo-mechanic reproductions, postcards, namely objects once produced on a mass scale, with copies present in many institutions worldwide, thus being neither unique nor extraordinary. They present works from a museum collection, historic pieces of local art, or universally known works of world art. They exist in a hierarchical relation with other classes of museum objects, yet they are often pushed to the margin of curator’s practice and kept as ‘archives’, namely outside the system of the museum collection. They can sometimes be found in museum archival sections, in other instances in libraries, yet it is on more rare occasions that we come across them in photo departments. However, owing to the research into archival photographs conducted in the last decade (the studies of afore-mentioned Elizabeth Edwards and also Constanza Caraffa as well as the teams cooperating with the latter), such collections are experiencing a certain revival. Forming part of this research, the paper focuses on the collections of reproductions produced at the turn of the 20th century in museums in Toruń, Poznań, and Szczecin, which were German at the time; the reproductions later found their way to and continue being kept in Polish institutions.

Racial Diversity and Suburban Politics in 20th-Century Los Angeles

2015 ◽  
Author(s):  
Hillary Jenks
Keyword(s):  
World War Ii ◽  
Los Angeles ◽  
20Th Century ◽  
Racial Diversity ◽  
Mass Scale ◽  
Economic Security ◽  
Metropolitan Region ◽  
Forthcoming Article ◽  
Communities Of Color ◽  
Political Responses

This is an advance summary of a forthcoming article in the Oxford Research Encyclopedia of American History. Please check back later for the full article. Despite its cultivated reputation as the nation’s “white spot” in the early 20th century, Southern California was in fact home to diverse and numerous communities of color, some composed of relatively new immigrants and some long predating the era of Anglo settlement and conquest. In the years following World War II, the region engaged in suburban home construction on a mass scale and became a global symbol of what Dolores Hayden called the economically democratic but racially exclusive “sitcom suburb,” from the tax-lowering mechanism of its “Lakewood plan” to the car-friendly “Googie” architecture of the San Fernando Valley. Existing suburban communities of color, such as the colonias of agricultural laborers, were engulfed by new settlements, while upwardly mobile African Americans, Latinas/Latinos, and Asian Americans sought access to the expanding suburban dream of homeownership, with varying degrees of success. The political responses to suburban diversity in metropolitan Los Angeles ranged from Anglo resistance and flight to multiracial political coalitions and the incorporation of people of color at multiple levels of local government. The ascent by a number of suburbanites of color to positions of local and regional political power from the 1960s through the 1980s sometimes exposed intra-ethnic discord and sometimes the fragility of cross-race coalition as multiple actors sought to protect property values and to pursue economic security within the competitive constraints of shrinking municipal resources, aging infrastructure, and a receding suburban fringe. As a result, political conflicts over crime, immigration, education, and inequality emerged in many Los Angeles County suburbs by the 1970s and later in the more distant corporate suburbs of Orange, Ventura, Riverside, and San Bernardino Counties. The suburbanization of poverty, the role of suburbs as immigrant gateways, and the emergence of “majority-minority” suburbs—all national trends by the late 1990s and the first decade of the 20th century—were evident far earlier in the Los Angeles metropolitan region, where diverse suburbanites negotiated social and economic crises and innovated political responses.

What Do we See in Museums?

2016 ◽  
Vol 79 ◽  
pp. 217-240 ◽  
Author(s):  
Graham Oddie
Keyword(s):  
Art Museums ◽  
Museum Collection ◽  
Ontological Category ◽  
Works Of Art ◽  
Museum Objects ◽  
Different Types ◽  
Preservation And Restoration ◽  
Philosophical Questions

AbstractI address two related questions. First: what value is there in visiting a museum and becoming acquainted with the objects on display? For art museums the answer seems obvious: we go to experience valuable works of art, and experiencing valuable works of art is itself valuable. In this paper I focus on non-art museums, and while these may house aesthetically valuable objects, that is not their primary purpose, and at least some of the objects they house might not be particularly aesthetically valuable at all. Second: to what ontological type or category do museum objects belong? What type of item should be featured on an inventory of a museum collection? I distinguish between typical objects and special objects. While these are different types of object, both, I argue, are abstracta, not concreta. The answer to the second question, concerning the ontological category of special objects, throws new light on various philosophical questions about museums and their collections, including the question about the value of museum experiences. But it also throws light on important questions concerning the preservation and restoration of museum objects.

scholarly journals Museum collection as a source on the study of processing industries of the Russian population of Altai

2020 ◽  
Vol 10 ◽  
pp. 335-341
Author(s):  
O. S. Mamontova ◽  
Keyword(s):  
20Th Century ◽  
General Information ◽  
Russian Population ◽  
Museum Collection ◽  
State Museum ◽  
History Of ◽  
Photo Collection

The article presents a brief description of the ethnographic collection and photo collection of the Altai State Museum of Local Lore on the history of the development of the processing industries of the Russian population of Altai. Museum materials on various forms of pimokat, leather, sheepskin production are introduced into scientific circulation. General information about their condition in the first half of the 20th century is given.

scholarly journals Unfolding Margaret Maclean's Orihon-Format scrapbook in the Royal Ontario Museum Collection: a focus on context, preservation and access

2021 ◽  
Author(s):  
Celio Humberto Barreto Ramos
Keyword(s):  
Visual Culture ◽  
20Th Century ◽  
Management Strategies ◽  
Editorial Process ◽  
Museum Collection ◽  
Japanese History ◽  
Collections Management ◽  
Large Format ◽  
Royal Ontario Museum ◽  
Item Level

My thesis comprises the analysis, cataloguing and preservation of Canadian author and educator Margaret MacLean’s Japan Scrapbook at The Royal Ontario Museum. This project uses collections management strategies to describe the scrapbook at the item-level, catalog 597 printed photographs and images for upload to The Museum System database (TMS); attempts to decode the author’s compilation and editorial process and finally, make recommendations for suitable handling procedures for access and physical preservation. The objects are affixed onto a large-format, traditional, Japanese, accordion-bound, album-style book called orihon. Together they capture a moment in Japanese history and visual culture in the first decade of the 20th century, and foreshadow MacLean’s 1920s education work at The ROM. The scrapbook was compiled sometime between 1904 and 1928, using materials ranging from about 1880 to 1915, illustrating the 1904 to 1908 period when Margaret Maclean and her father resided in Yokohama, Japan.

Carved komari (vulva) stones from Rapa Nui: museum objects, legacy data and contemporary local history

2020 ◽  
Vol 129 (4) ◽  
pp. 383-406
Author(s):  
Adrienne L. Kaeppler ◽  
Jo Anne Van Tilburg
Keyword(s):  
Local History ◽  
Museum Collection ◽  
Bishop Museum ◽  
Rapa Nui ◽  
Traditional Role ◽  
Multiple Data ◽  
Museum Objects ◽  
Legacy Data ◽  
New Interpretation

The authors examine selected stone objects in the J.L. Young Collection, Bernice P. Bishop Museum, Honolulu. Two were named by Young “Maea Momoa” (ma‘ea momoa; lit. ‘stone for chickens’). One of the ma‘ea momoa is a “pillow stone” (ŋarua) or basaltic beach cobble incised with komari (vulva motifs). The other is a “Bar of stone” lavishly embellished with similar motifs. Six other objects are said to be “fetish stones”. A possible ‘Orongo provenance for the incised “Bar of stone” is raised and tested, and toponymic and linguistic data are offered in support of a new interpretation of the origin of the hakatoro repe ‘elongation of the clitoris’ ritual and the function of one incised “fetish stone” in that process. This research calls attention to the traditional role of women in ‘Orongo ceremonies and employs relatively obscure museum collection objects and their previously overlooked documentation, thus uniting multiple data strands to reveal new details of Rapanui ritual life.

scholarly journals DEN OPLØSTE SAMLING OG DEN MAGISKE MATERIE

2001 ◽  
Author(s):  
Inger Sjørslev
Keyword(s):  
Social Context ◽  
Cultural Property ◽  
National Museum ◽  
Museum Collection ◽  
Museum Objects

collecting objects related to magic rituals in Brazil for the Department of Ethnography of the Danish National Museum, the article deals with the different conditions in which objects are found, and how they are embedded in their social context as well as in the context of the museum collection. The metaphors of wet and dry are used to characterize the – paradoxical – social killing – or “drying” –of the objects, when they enter the museum and are made permanent, and in principle, eternal through conservation. In Denmark, moreover, the de-accession of museum objects is virtually non existent, aside from the cases in which cultural property is repatriated. “Wet” objects are objects in social circulation. Likewise objects can be said to be wet when they are used in magic rituals, and where it is their role and fate to be destroyed and dissolved as, for instance, in order to cleanse the person for whom the ritual is performed. “Dry” objects are the permanent, de-socialised museum pieces, for which dissolution is prevented through the institution of conservation. The article includes some reflections on Marcel Mauss’ concept of hau as attached to exchange objects. Finally, the article questions whether museum objects, as objects within a global system of exchange, possess anything that bears relation to related to Mauss’ hau.  

scholarly journals Erik Satie – the ‘progenitor’ of muzak or the precursor of ‘pipedown’ movement? On the concept of musique d’ameublement

2019 ◽  
pp. 135-145
Author(s):  
Sylwia Makomaska
Keyword(s):  
Public Space ◽  
20Th Century ◽  
Mass Scale ◽  
Background Music ◽  
Western World ◽  
Avant Garde ◽  
The Public ◽  
Contemporary World ◽  
Starting Point ◽  
Erik Satie

Erik Satie (1866–1925) was a colourful and intriguing artist in the world of Parisian avant-garde. In the turbulent times of the early 20th century he created the concept of musique d’ameublement (‘furniture music’) – a vision of music that did not require attentive listening because it was supposed to play an extravagant role (as it was perceived in that period) of an acoustic background accompanying all everyday events. A change in recording and sound reproduction techniques in the 20th century that led to the ubiquity of music in the contemporary world seems to confirm that Satie’s ‘furniture music’ can be treated as a prophetic idea. However, the problem of how the concept of musique d’ameublement should be interpreted still remains ambiguous. The main aim of the present paper is to discuss the two contrary ways of the interpretation of ‘furniture music’. The first approach assumes that Satie can be treated as ‘the progenitor’ of muzak – a musical genre initially associated with the activities of Muzak company and then gradually identified with any background music provided on a mass scale to the public space. The second approach is an attempt to interpret the concept of musique d’ameublement in a completely different way – as an expression of opposition to an increasingly mechanized Western world dominated by progress and technology, where the role of music boils down only to the function of the acoustic background. Therefore, Satie becomes one of the precursors of the actions taken by the opponents of muzak (e. g. pipedown movements), who seek to eliminate the imposed background music from the public space. The reconstruction of musique d’ameublement (basing, inter alia, on selected source materials) is treated as a starting point for the discussion that leads to the acoustic ecology perspective.

scholarly journals Dental pathology of the wild Iberian wolf (Canis lupus signatus): The study of a 20th century Portuguese museum collection

2020 ◽  
Vol 9 ◽  
pp. 100100
Author(s):  
AE Pires ◽  
IS Caldeira ◽  
F Petrucci-Fonseca ◽  
I Viegas ◽  
C Viegas ◽  
...  
Keyword(s):  
20Th Century ◽  
Canis Lupus ◽  
Museum Collection ◽  
Dental Pathology ◽  
Canis Lupus Signatus ◽  
Iberian Wolf

scholarly journals Unfolding Margaret Maclean's Orihon-Format scrapbook in the Royal Ontario Museum Collection: a focus on context, preservation and access

2021 ◽  
Author(s):  
Celio Humberto Barreto Ramos
Keyword(s):  
Visual Culture ◽  
20Th Century ◽  
Management Strategies ◽  
Editorial Process ◽  
Museum Collection ◽  
Japanese History ◽  
Collections Management ◽  
Large Format ◽  
Royal Ontario Museum ◽  
Item Level

My thesis comprises the analysis, cataloguing and preservation of Canadian author and educator Margaret MacLean’s Japan Scrapbook at The Royal Ontario Museum. This project uses collections management strategies to describe the scrapbook at the item-level, catalog 597 printed photographs and images for upload to The Museum System database (TMS); attempts to decode the author’s compilation and editorial process and finally, make recommendations for suitable handling procedures for access and physical preservation. The objects are affixed onto a large-format, traditional, Japanese, accordion-bound, album-style book called orihon. Together they capture a moment in Japanese history and visual culture in the first decade of the 20th century, and foreshadow MacLean’s 1920s education work at The ROM. The scrapbook was compiled sometime between 1904 and 1928, using materials ranging from about 1880 to 1915, illustrating the 1904 to 1908 period when Margaret Maclean and her father resided in Yokohama, Japan.

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