By Andrea Witcomb
Re-Imagining the Museum offers new interpretations of museum heritage and modern museum practices.
Through a number of case experiences from the united kingdom, North the US and Australia, Andrea Witcomb strikes clear of the concept that museums are consistently 'conservative' to signify they've got an extended historical past of attractive with pop culture and addressing a number of audiences. She argues that museums are key mediators among excessive and pop culture and among executive, media practitioners, cultural policy-makers and museums execs.
Analyzing hyperlinks among museums and the media, the function of museums in towns, and discussing the results on museums of cultural policies, Re-Imagining the Museum presents an important device within the examine of museum practice.
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Additional info for Re-Imagining the Museum: Beyond the Mausoleum
Uwins in Trodd 1994: 45) Similar material has often been cited as evidence that in the nineteenth century the museum was the subject of increasing governmental controls. However, it seems to me that what is most remarkable about descriptions such as Uwins’ is the total indifference on the part of the unwanted visitors to the efforts being made to improve their behaviour. It is almost as if they refuse to be made aware that there is anything wrong with their use of the space. They are simply unaware of the semiotics of power.
Do they suggest that Bennett’s (1990) 27 Floating the museum argument about the civic role of museums, discussed in the last chapter, is no longer applicable? In what ways can an economic rationale be accommodated within Bennett’s governmentalist approach to thinking about museums? Are there any connections between the economic function of museums and their turn to popular culture? What is the relationship between the orientation of museums towards tourism and their claims that they are presenting more democratic, inclusive exhibitions?
The inside of Darling Harbour then could be read as a takeover of the ‘authentic’ popular from the corporate popular found in the terrace cafés outside – especially given the difference in prices. 3 The popular was reinvented in the name of the consumer. Darling Harbour is not an exclusive leisure site but it was built from the point of view of capital. Floating the museum Like the space surrounding it, the museum cannot be completely contained within rational aims. The complex web of relations that characterizes contemporary museums as belonging both within civic, governmental discourses and more global economic discourses has an impact on the way in which exhibitions are developed.
Re-Imagining the Museum: Beyond the Mausoleum by Andrea Witcomb