Collecting ethnographic items for the Estonian National Museum has been linked to the practice of buying objects during fieldwork. Often we can find metaphors or expressions connected with trading in the Komi fieldwork diaries. Comparing ethnographers with merchants is a stereotypical way of describing the activities of Estonian researchers in the field. If ethnographers use, in their diaries, metaphors and expressions connected to trading, it may be just a spontaneous phrasing or inter-textual play of words. Inside the community of Estonian (...) ethnologists there exists some kind of discourse style, which is followed in the fieldwork diaries, more or less consciously. This style of narration is also connected to the specific social and historical context in which ethnographers act. At the same time, even satiric inter-textual quotations do not exclude the possibility that some of this discourse is related to a deeper level of human consciousness. (shrink)

Collecting ethnographic items for the Estonian National Museum has been linked to the practice of buying objects during fieldwork. Often we can find metaphors or expressions connected with trading in the Komi fieldwork diaries. Comparing ethnographers with merchants is a stereotypical way of describing the activities of Estonian researchers in the field. If ethnographers use, in their diaries, metaphors and expressions connected to trading, it may be just a spontaneous phrasing or inter-textual play of words. Inside the community of Estonian (...) ethnologists there exists some kind of discourse style, which is followed in the fieldwork diaries, more or less consciously. This style of narration is also connected to the specific social and historical context in which ethnographers act. At the same time, even satiric inter-textual quotations do not exclude the possibility that some of this discourse is related to a deeper level of human consciousness. (shrink)

Bhabha, Georges Didi-Huberman, David Morgan and Lee Siegel, as well as a series of focused contributions by Yve-Alain Bois, Wendy Doniger, Kenneth Frampton, Martin E. Marty, John Hallmark Neff, Annemarie Schimmel, and Helen Tworkov consider how rapture resonate's both in a cultural context and within the experience of a single human being.

Museums influence society’s ideas about canons in relation to art and the aesthetic. Such canons, as represented in museum exhibitions and collections, have sometimes been criticized for exclusion of artists from some groups. These artists include members of racial minorities, women, and others. It may be objected that there is a danger in some such criticism. Group membership might, it may be said, come to matter too much in choices by museums, rather than what should matter, producing and (...) appreciating work of the highest artistic or aesthetic value. (shrink)

This chapter introduces the participatory art museum and discusses some of the challenges it raises for philosophical aesthetics. Although participatory art is now an essential part of museological programming, an aesthetic account of participatory art is still missing. The chapter argues that much could be gained from exploring participatory art, as it raises fundamental challenges to our understanding of issues in aesthetics, such as the nature of aesthetic experience, the value of art, and the role of the spectator. Moreover, participatory (...) art fundamentally questions the status of the museum as an exhibition space for contemporary art practices. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Symposium: The Future of the Art Museum: Curatorial and Educational Perspectives:IntroductionDaniel A. SiedellIntroductionThere are few futures pondered more often than the art museum's. The new millennium has spawned a veritable cottage industry of such prognostication. Most of it has occurred from the perspectives of building expansion, audience growth, and collection development. These are not, by any means, unimportant considerations. However, such sustained attention to them by directors, marketers, board (...) members, collectors, and the mass media tend to obscure the fact that these areas of concern are not ends in themselves. A new museum wing, higher attendance, and more gifts of art to the collection mean little unless they serve to facilitate specific curatorial and educational ends, which themselves are in the service of expanding and deepening their capacity to enhance the experience of art. The future of the art museum rests on the ability of curators and educators to develop new and more robust curatorial and educational work that is responsive to both the larger culture and to the vocational standards of their respective professions. Curators and educators need, then, to be more self-critical of their practices.This symposium brings together a few of these professionals to reflect on the future of the art museum from the perspective of those involved in the day-to-day production, presentation, and interpretation of works of art. It is occasioned by the publication of David Carrier's book, Museum Skepticism: A History of the Display of Art in Public Galleries, recently published by Duke University Press, and more specifically, Carrier's conclusion, which offers its own reflection on the future of the art museum. A frequent contributor to the Journal of Aesthetic Education, Carrier is a philosopher and art critic whose interests range widely from the art criticism of John Ruskin and Adrian Stokes to the writing of art history and the paintings of Sean Scully.1 Carrier's book, written while a scholar in residence at the Getty Center for the History of Art and the Humanities, explores the history and philosophy of art museums from the point of view of the narratives on which they rely as well as produce. And it is narratives that art educators and curators produce, affirm, and expand when they curate exhibitions and do educational programming.Because they are "public" institutions (even when they are private organizations) and serve many competing audience constituencies, art museums [End Page 1] often suffer from an acute identity crisis, even while they build large expansions, engage in aggressive campaigns to court collectors, placate increasingly more powerful governing boards, and expand their programming to the point that it ceases to be education. The business of the art museum often masks these deep crises, which eventually become a neurosis that plagues curatorial and educational practice. A symptom of this illness can be seen in the misplaced tension between curators and educators as a battle between the "scholars" and the "popularizers," the "elites" and the "community."In 1946 Alfred H. Barr Jr. of the Museum of Modern Art presented a paper called "Research and Publication in Art Museums."2 In it Barr not only recognizes the importance of museum scholarship; he argues that such scholarship, unlike that of the academic art historian, must engage and interact with "the man off the street." Indeed, Barr passionately believed that museum scholarship not only could but should engage a broader and more diverse public all the while remaining committed to scholarly ideals. Barr acknowledges the tensions between museums as "popular community centers" and museums as places of "research and publication." But, he continues, "Both can be done provided we have enough faith to believe in the values of both and enough skill to persuade others to agree with us."3 Barr's expansive definition of scholarship is instructive and a challenge. "By publication I mean not only the scholarly treatise but also the popular article or book, the classroom or public lecture, the gallery talk, publicity releases."4 For Barr, scholarship is not merely a curator's or educator's opportunity to address her professional colleagues and strengthen guild rank; it is a value that is infused throughout all work... (shrink)

Traditionally galleries and museums were one-dimensional, visually.These curators, critics, artists and gallerists developed multi-sensory art galleries, involving all senses. as well as living installations such as bees producing honey their books published. This is far beyond traditional installations and exhibitions. Night tours by torchlight, education, accommodation, therapy, participation, exploration, local community involvement and more are available.

Accompanying an exhibition organized by the Whitney Museum of American Art, New York, this book is the most comprehensive catalogue on the work of this internationally recognized architectural firm.

Since the 1960s, many artists have incorporated ecological concerns into their work, an endeavor that has required new strategies in art-making. To explore recent American manifestations of these interests, the David and Alfred Smart Museum commissioned new projects from artists Mark Dion, Peter Fend, and Dan Peterman, each focusing on interrelationships between particular organisms—human beings-and a specific group of sites—a museum building, a river landscape, and a university campus. The results, exhibited at the Smart Museum during the summer of 2000, (...) evoke the varied scales, from the microscopic to the global, at which human actions affect the environment. This catalog documents each of the artists' projects through an array of images and words: Smart Museum Associate Curator Stephanie Smith provides an introduction and brief overviews of the three projects, each of the artists contribute statements, and photographers Susan Anderson and Tom van Eynde document—in over 100 images—the processes and projects that comprise the exhibition. (shrink)

This two‐part article examines the very limited engagement by philosophers with museums, and proposes analysis under six headings: cultural variety, taxonomy, and epistemology in Part I, and teleology, ethics, and therapeutics and aesthetics in Part II. The article establishes that fundamental categories of museums established in the 19th century – of art, of anthropology, of history, of natural history, of science and technology – still persist. Among them, it distinguishes between hegemonic (predominantly Western) and subaltern (minority or Indigenous) (...) museums worldwide. It argues that relations between hegemonic and subaltern museums are often agonistic, and are compromised by claims of universalism on the part of proponents of the former. The article observes that most discussion of museums focuses exclusively and misleadingly on their public exhibition function, and contends that scholarship – not exhibition – is central to all museums. However, that predominantly taxonomic scholarship, while innovative and central to a dominant epistemology based on the observation of tangible things in the 19th century, was compromised by the epistemic shift to abstraction and experimentation in the 20th, which resulted in a loss of initiative and authority. Although epistemological changes currently in progress favor a renewed attention to tangible things as complex matrices to which museums ought to contribute significantly, the fundamental taxonomy of museums by collection type is a clog on the ability of museum scholars to engage with and themselves produce big ideas. In order to function well as sites of scholarship in the future, museums will have to be far more adaptable and attentive to a wider range of things and ideas (including Indigenous ideas incompatible with Western assumptions) than their existing collection divisions permit. (shrink)

At a time when professional art criticism is on the wane, the ancient quarrel between art and philosophy demands fresh answers. Professional art criticism provided a basis upon which to distinguish apt experiences of art from the idiosyncratic. However, currently the kind of narratives from which critics once drew are underplayed or discarded in contemporary exhibition design where the visual arts are concerned. This leaves open the possibility that art operates either as mere stimulant to private reverie or, in the (...) more contentful cases, as propaganda. The ancient quarrel between art and philosophy is that art influences surreptitiously while philosophy presents reasons that invite rational scrutiny. As such, in contrast to philosophy, art would undermine our agency. In July 2017, a group of philosophers gathered at the Art Gallery of NSW (AGNSW), in Sydney, Australia, in the presence of two AGNSW curators to explore the basis of their own experiences of selected artworks. Here, those commentaries are reproduced. Each reveal that objective grounds for an experience of art can be based in the community from which one draws one’s terms of reference. In our commentaries we see the expertise of the respective philosophical communities but other communities of culture or expertise might serve the same purpose and hence resolve the ancient quarrel. Before hearing these commentaries, I explain what is at stake when the ancient quarrel between art and philosophy is understood in contemporary terms. This Issue of the Curator also includes an article on the community-based art criticism that emerges from these commentaries followed by an exhibition review which reveals the incorrigible impulse (also demonstrated in the commentaries) to find the basis for the most apt experience of an artwork. A response by the AGNSW curators completes this issue. (shrink)

Open the box -- The museum effect -- Art or artifact -- Public inquiry -- Framing the frame -- Curator/creator -- On the inside -- Without walls.

There is wide research about the Philosophy for/with Children program. However, there is not any known attempt to investigate how a philosophical discussion can be implemented through a museum workshop. The present research aims to discuss aesthetic and epistemological issues with primary school children through a temporary art exhibition in a museum in Cyprus. Certainly, paintings have been used successfully to connect philosophical topics with the experiences of the children. We suggest, though, that this is not as innovative as the (...) conduction of a dialogue in a museum. Results were mostly positive. Pupils participated in the discussion and they gave intensive definitions of beautiful paintings and counterexamples for given definitions. The structure of inductive arguments and the difference between belief and knowledge were discussed. Progress in the analysis of inductive arguments was slightly noticeable, but it is likely that this was due to limited time spent on analysing those arguments. Furthermore, more sessions are needed to make generalisations for the effectiveness of the Philosophy for Children program in a museum instead of a traditional classroom. Even though there is discussion about the different stimuli of the discussion, it might be worth considering the effectiveness of different contexts where the discussion can take place. (shrink)

This essay revisits Meyer Schapiro’s critique of Heidegger’s interpretation of Van Gogh’s painting of a pair of shoes in order to raise the question of the dispute between art history and philosophy as a contest increasingly ceded to the claim of the expert and the hegemony of the museum as culture and as cult or coded signifier. Following a discussion of museum culture, I offer a hermeneutic and phenomenological reading of Heidegger’s ‘Origin of the Work of Art’ and conclude by (...) taking Heidegger’s discussion of the strife between earth and world to the site of the ancient temple of Apollo Epicurius at Bassae as an example of the insistent foreclosure of the ancient work of art and the conflicts of the pervasive efforts of modern conservation. (shrink)

What is the difference between a performance of Beethoven's Fifth Symphony and the symphony itself? What does it mean for musicians to be faithful to the works they perform? To answer this question, Goehr combines philosophical and historical methods of enquiry. She describes how the concept of a musical work emerged as late as 1800, and how it subsequently defined the norms, expectations, and behavior characteristic of classical musical practice. Out of the historical thesis, Goehr draws philosophical conclusions about the (...) normative functions of concepts and ideals. She also addresses current debates amongst conductors, early-music performers, and avant-gardists. (shrink)

Business ethics courses have been launched with professors from business pulling on one oar, and professors of philosophy pulling on the other, but they lack a sense of direction. Let's begin with the basics: What is an ehtical decision? More fundamentally, why the interest in professional ethics in the first place?There are over 300 centers for the study of appIied ethics in this country-why? The events which face our society today are outside the business-oriented collection of shared beIiefs that set (...) our pubIic policy agenda. Cur beIiefs are too narrow, thus we see, understand, and control small slices of life.Business ethics should be the study of the structure and impact on us of what we call "business science," e.g., accounting, marketing, economics, law, etc., and the corresponding study of the process of what Carl Jung called individuation: learning to become one's own uniqueself in the face of these bodies of professional knowledge which have structured our lives and charted the direction for our sensibilities for too long. (shrink)

Business ethics courses have been launched with professors from business pulling on one oar, and professors of philosophy pulling on the other, but they lack a sense of direction. Let's begin with the basics: What is an ehtical decision? More fundamentally, why the interest in professional ethics in the first place?There are over 300 centers for the study of appIied ethics in this country-why? The events which face our society today are outside the business-oriented collection of shared beIiefs that set (...) our pubIic policy agenda. Cur beIiefs are too narrow, thus we see, understand, and control small slices of life.Business ethics should be the study of the structure and impact on us of what we call "business science," e.g., accounting, marketing, economics, law, etc., and the corresponding study of the process of what Carl Jung called individuation: learning to become one's own uniqueself in the face of these bodies of professional knowledge which have structured our lives and charted the direction for our sensibilities for too long. (shrink)

What role does race play in the moral judgment of character? None, ideally, philosophers insist, contending that the proper assessment of an action requires that we disregard any social values associated with the body performing it. What rightly comes under evaluation, they assert, is the neutral, abstract deed irrespective of the race of the agent. Only under these conditions, presumably, can we gauge true moral worth. Reading together Immanuel Kant and Frantz Fanon on ethics and race, I propose instead that (...) embodied values such as those accorded by race do not distort the portrait of the ethical subject but rather bring that subjectivity into being. Key Words: blackness • embodiment • ethics • Frantz Fanon • Immanuel • Kant • morality • race • value. (shrink)

Abstract…observations of skylfull pylotts is the onlye waye to bring it in rule; for it passeth the reach of naturall philosophy. – Michael Gabriel, 1576 (Collinson, 1867, p. 30)Abstract The tension between empirical data and formal theory pervades the entire history of geomagnetism, from the Middle Ages up to the present day. This paper explores its early-modern history (1500–1800), using a hybrid approach: it applies a methodological framework used in modern geophysics to interpret early-modern developments, exploring to what extent formal (...) conjectures shaped observation and vice versa. A range of pertinent case studies supports classification of this entire period as proto-scientific, characterised by the initial formation of theories being largely disconnected from observational constraints, and their subsequent evolution being advanced primarily by their empirical falsification, and not necessarily associated with the introduction of an alternative. The few exceptional instances of purely data-driven discovery were essentially due to an improved signal-to-noise ratio. (shrink)

We humans are a curious species. Of all the life forms that inhabit the earth, we alone strive to make sense of the world in which we find ourselves. For thousands of years we understood the world through stories. Our ancestors told stories of how the world began, how our people originated and came to be at this place, and how those people across the river or beyond the mountains came to be where they are. Some stories were of animals (...) and plants in our neighborhood, and their powers to help us, feed us, or cure our ailments. But in the last few centuries, starting in Europe and spreading throughout the world, a new way of understanding began competing with storytelling as a means of comprehending our world. Science supplanted storytelling largely because it empowered us to transform the world in ways that were unimaginable to our ancestors. We understand the world scientifically by describing the world instead of by telling stories about it. The stories our ancestors told no longer explain the world, but are data within the world, part of the world that science describes. Our stories have become myths, cultural artifacts that may be interesting and a subject of study, but cannot possibly be true. Yet even in societies that have thoroughly embraced science as a means of understanding the world, myths remain a powerful force. Myth and science exist side by side, often creating confusion and conflict. (shrink)

This groundbreaking book is the first to provide a critical overview of the relationship between contemporary ceramics and curatorial practice in museum culture. Ceramic objects form a major part of museum collections, with connections to anthropology, archaeology and other disciplines that engage with the cultural and social history of humankind. In recent years museums have provided the impetus for cutting-edge artistic practice, either as a response to particular collections, or as part of exhibitions. But the question of how (...) class='Hi'>museums have staged contemporary ceramics and how ceramic artists respond to museum collections has not been the subject of published research to date. This book examines how ceramic artists have, over the last decade, begun to animate museum collections in new ways, and reflects on the impact that these new initiatives have had in the broad context of visual culture. Ceramics in the Expanded Field is the culmination of a three-year AHRC funded project, and reflects its major findings. It brings together leading international voices in the field of ceramics, research undertaken throughout the project and papers delivered at the concluding conference. By examining the benefits and constraints of interventions and the dialogue between ceramics and museological practice, this book will bring focus to an area of museology that has not yet been theorized, and will contribute to policy debates and art practice. (shrink)

This book has been conceived from a series of speeches which took place during the Filmforum Festival of Udine and Gorizia whose main theme was the use of moving images in the space of contemporary art. The aim of this publication is to create a scientific framework of some of the most important artistic experiences: from the use of archive images to the newest participatory practices. The book consists of essays selected during the Filmforum Festival and the MAGIS International Film (...) Studies Spring School and texts from invited researchers. It examines the ways in which the transient qualities of time have been used in contemporary moving images production and in their display. (shrink)

The late Ananda K. Coomaraswamy, curator of Indian art at the Boston Museum of Fine Arts, uniquely combined art historian, philosopher, orientalist, linguist, and expositor in his person. His knowledge of the arts and handcrafts of the Orient was unexcelled and his numerous monographs on Oriental art either established or revolutionized entire fields. He was also a great Orientalist, with an almost unmatched understanding of traditional culture. He covered the philosophic and religious experience of the entire premodern world, east and (...) west, and for him primitive, medieval European, and classical Indian experiences of truth and art were only different dialects in a common language. Finally, Coomaraswamy was a provocative writer, whose erudition was expressed in a delightful, aphoristic style. The nine essays in this book are among his most stimulating. They discuss such matters as the true function of aesthetics in art, the importance of symbolism, and the importance of intellectual and philosophical background to the artists; they demonstrate that abstract art and primitive art, despite superficial resemblances, are completely divergent; and they deal with the common philosophy which pervades all great art, the nature of medieval art, folklore, and modern art, the beauty inherent in mathematics, and the union of traditional symbolism and individual portraiture in premodern cultures. (shrink)

The essays collected in this special issue of Critical Inquiry are devoted to reflection on the shifts in photographically based art practice, exhibition, and reception in recent years and to the changes brought about by these shifts in our understanding of photographic art. Although initiated in the 1960s, photography as a mainstream artistic practice has accelerated over the last two decades. No longer confined to specialist galleries, books, journals, and other distribution networks, contemporary art photographers are now regularly the subject (...) of major retrospectives in mainstream fine-art museums on the same terms as any other artist. One could cite, for example, Thomas Struth at the Metropolitan Museum in New York , Thomas Demand at the Museum of Modern Art , or Jeff Wall at Tate Modern and MoMA . Indeed, Wall's most recent museum show, at the time of writing, The Crooked Path at Bozar, Brussels , situated his photography in relation to the work of a range of contemporary photographers, painters, sculptors, performance artists, and filmmakers with whose work Wall considers his own to be in dialogue, irrespective of differences of media. All this goes to show that photographic art is no longer regarded as a subgenre apart. The situation in the United Kingdom is perhaps emblematic of both photography's increasing prominence and its increased centrality in the contemporary art world over recent years. Tate hosted its first ever photography survey, Cruel and Tender, as recently as 2003, and since then photography surveys have become a regular biannual staple of its exhibition programming, culminating in the appointment of Tate's first dedicated curator of photography in 2010. A major shift in the perception of photography as art is clearly well under way. (shrink)

By juxtaposing issues and problems, Donald Preziosi's latest collection of essays, In the Aftermath of Art , opens up multiple interpretive possibilities by bringing to the surface hidden resonances in the implications of each text. In re-reading his own writings, Preziosi opens up alternatives within contemporary discourses on art history and visual culture. A critical commentary by critic, historian, and theorist Johanne Lamoureux complements the author's own introduction, mirroring the multiple interpretations within the essays themselves.

Not too long ago the trustees of my college decided to update the artistic holdings of our campus, and to this end they set out to acquire a contemporary work of art for permanent display in the College art museum. Not being timid, the trustees wanted a challenging, cutting-edge work, preferably from the West Coast, but they felt they lacked the expertise to find and buy the right piece. As it happened, a few of them had heard of my interest (...) in modernism and its philosophical challenges, and so I found myself with an unusual assignment: I was to fly to Los Angeles with a ten thousand dollar check and bring back something distinguished, a unique object to be discussed and appreciated for years to come. (shrink)