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Mesoamerican Narratives at the British Museum
This bilingual book is the outcome of a research project undertaken between the Santo Domingo Centre of Excellence for Latin American Research at the British Museum and a group of Indigenous and non-Indigenous archaeologists and activists from Mexico and Guatemala. The chapters include new interpretations of some written narratives in the Mesoamerican collection at the British Museum, as well as critical reflections on the politics of Indigenous participation in museum projects and collection research. The book includes new scholarly interpretations of the Tonindeye Codex, the Xiuhpohualli of Tenochtitlan and the Yaxchilan lintels and, seeking to read these Mesoamerican narratives in an embodied way, it hopes to foster temporal imagination in the museum. It also discusses Indigenous epistemologies while focusing on the relevance of mobilising this work strategically outside of the museum, among descendant communities. In this way, researchers and visitors might interrogate their political and emotional positions towards colonial collections.
Mapping a New Museum
Mapping a New Museum seeks to rethink the museum's role in today's politically conscious world. Presenting a selection of innovative projects that have taken place in Latin America over the last year, the book begins to map out possibilities for the future of the global museum. The projects featured within the pages of this book were all supported by The Santo Domingo Centre of Excellence for Latin American Research (SDCELAR) at the British Museum (BM), with the aim of making the BM's Latin American collections meaningful to communities in the region and others worldwide. These projects illustrate how communities manage cultural heritage and, taken together, they suggest that there is also n...
Mapping a New Museum
Mapping a New Museum seeks to rethink the museum’s role in today’s politically conscious world. Presenting a selection of innovative projects that have taken place in Latin America over the last year, the book begins to map out possibilities for the future of the global museum. The projects featured within the pages of this book were all supported by The Santo Domingo Centre of Excellence for Latin American Research (SDCELAR) at the British Museum (BM), with the aim of making the BM’s Latin American collections meaningful to communities in the region and others worldwide. These projects illustrate how communities manage cultural heritage and, taken together, they suggest that there is ...
Untold Microcosms
Collection, colonialism, translation, and the ephemera that shapes the stories we tell about ourselves. Featuring new original works by: Yásnaya Elena Aguilar, Cristina Rivera Garza, Joseph Zárate, Juan Cárdenas, Velia Vidal, Lina Meruane, Gabriela Cabezón Cámara, Dolores Reyes, Carlos Fonseca, Djamila Ribeiro The Central and South American collection at the British Museum collections contains approximately 62,000 objects, spanning 10,000 years of human history. The vast majority cannot be displayed, and those objects are the subject of Untold Microcosms , a collection of ten stories from ten Latin American writers, and inspired by the narratives about our past that we create through museums, in spite of their gaps and disarticulations.
Museum Activism
Only a decade ago, the notion that museums, galleries and heritage organisations might engage in activist practice, with explicit intent to act upon inequalities, injustices and environmental crises, was met with scepticism and often derision. Seeking to purposefully bring about social change was viewed by many within and beyond the museum community as inappropriately political and antithetical to fundamental professional values. Today, although the idea remains controversial, the way we think about the roles and responsibilities of museums as knowledge based, social institutions is changing. Museum Activism examines the increasing significance of this activist trend in thinking and practice...
The Oxford Handbook of Museum Archaeology
This Handbook provides a transnational reference point for critical engagements with the legacies of, and futures for, global archaeological collections. It challenges the common misconception that museum archaeology is simply a set of procedures for managing and exhibiting assemblages. Instead, this volume advances museum archaeology as an area of reflexive research and practice addressing the critical issues of what gets prioritized by and researched in museums, by whom, how, and why. Through twenty-eight chapters, authors problematize and suggest new ways of thinking about historic, contemporary, and future relationships between archaeological fieldwork and museums, as well as the array o...
From Museum Critique to the Critical Museum
Since the late nineteenth century, museums have been cited as tools of imperialism and colonialism, as strongholds of patriarchalism, masculinism, homophobia and xenophobia, and accused both of elitism and commercialism. But, could the museum absorb and benefit from its critique, turning into a critical museum, into the site of resistance rather than ritual? This book looks at the ways in which the museum could use its collections, its cultural authority, its auratic space and resources to give voice to the underprivileged, and to take an active part in contemporary and at times controversial issues. Drawing together both major museum professionals and academics, it examines the theoretical concept of the critical museum, and uses case studies of engaged art institutions from different parts of the world. It reaches beyond the usual focus on western Europe, America, and ’the World’, including voices from, as well as about, eastern European museums, which have rarely been discussed in museum studies books so far.
After Disruption
The digital age is burning out our most precious resources and the future of the past is at stake. In After Disruption: A Future for Cultural Memory, Trevor Owens warns that our institutions of cultural memory—libraries, archives, museums, humanities departments, research institutes, and more—have been “disrupted,” and largely not for the better. He calls for memory workers and memory institutions to take back control of envisioning the future of memory from management consultants and tech sector evangelists. After Disruption posits that we are no longer planning for a digital future, but instead living in a digital present. In this context, Owens asks how we plan for and develop a m...
Contemporary Art and the Display of Ancient Egypt
Artistic interventions are now a popular means of delivering fresh perspectives on museum displays, including in galleries devoted to ancient Egypt. Installations are commonly said to put the past and present ‘into dialogue’ with each other, offering external critical voices on the work of decolonisation. Contemporary Art and the Display of Ancient Egypt argues that the contemporary and the ancient do not necessarily inform each other. Instead they are mediated by, and mediations of, the museum that produces them. Rather than explore how contemporary artists have been inspired by Egypt, this book examines how they have shaped the language and discourse around study of the Egyptian past b...
Maya Blue
One of the great technological achievements of the ancient Maya, Maya Blue is one the world’s most unusual ancient pigments. In Maya Blue, Dean E. Arnold offers a comprehensive history of its study for almost a century, filled with personal anecdotes drawn from his decades of work uncovering the Maya knowledge of its constituents, its ancient sources, and how it was made—including previously unknown methods. The book presents a fresh holistic perspective that documents these discoveries and the scientific process that led to them and provides testable hypotheses about how the pigment and the technology used to make it moved throughout Mesoamerica. Combining the organic dye indigo and the...
