El director del Museo Histórico Regional “Emma Nozzi” de Carmen de Patagones y su colaborador, ambos historiadores, narran la historia de la institución, presentan las características edilicias y el patrimonio de la misma, sintetizando los aspectos más salientes de las colecciones de objetos y archivo. Se detallan los servicios que se ofrecen a los investigadores y público en general, junto con la labor de rescate documental que realizan en el museo.

The purpose of this study was to examine how elementary preservice teachers ( n = 35) experienced museums as potential sites for K-5 students to read museums using two lenses: to learn the history of the place in which they live and examine how museum authors craft texts to tell those stories. Along with exploring historical content, preservice teachers studied the museum as an informational text. Through this experience, preservice teachers discovered: 1) the five informational text structures (...) museum authors used to present information and 2) how museum authors conveyed contemporary and social issues using various forms of writing. Additionally, the museum experience provided a context in which the preservice teachers could engage in critical literacy practices. (shrink)

In response to the need for Holocaust curricula in Latvia, Latvians and Americans worked collaboratively to overcome the historical silence surrounding this event. During their project, Latvian curriculum writers worked with teachers and scholars at the United States Holocaust Memorial Museum. This descriptive analysis of the Latvians' experience with Museum Fellows revealed opportunities to learn from each other the complexities of teaching the Holocaust in a country viewed by some as collaborators and still somewhat anti-Semitic. Findings included depth of (...) guidance, values, and limits of innovative teaching methods, cross-cultural benefits, and continued collaboration. Recommendations for future efforts by post-Communist countries and American partners to develop curriculum on teaching a most complex and contentious aspect of history such as the Holocaust conclude the study. (shrink)

Museum practice remains rooted in its historical ontology of nature-culture dualism. This article moves beyond this dualism by combining Bhaskar’s dialectical MELD schema with cultural historical a...

Over the last 30 years, colleges of education across the nation have examined and deliberated how best to educate pre-service history teachers for the challenges of the modern classroom. Specifically, they sought to create and refine teacher preparation programs that foster within the pre-service history teacher the propensity to use authentic teaching practices once they are licensed and instructing independently in the classroom. Using a situated learning theoretical framework, this research study adds to the literature on this topic by examining (...) how a semester-long pre-service residency at a historic site, archive, library, or museum influences in-service history teacher pedagogy. Utilizing an ex post facto qualitative research methodology with a questionnaire, interviews, and analysis of lesson plans, this study pursued the objective of evaluating the nuances of a residency and how those experiences influence in-service pedagogical dispositions. The findings of the study conclude pre-service history teacher residencies offer valuable and unique learning spaces for the pedagogical development of pre-service history teachers by promoting authentic-based teaching models that participants carry into their in-service teaching. (shrink)

Explores a crisis of modern America: the dissolution of place that leads to a dangerous rupture of community.

The article is an overview of the growth of an interest in painting, from the mid-sixteenth to the mid-nineteenth century, among a public not much involved in either the production or purchase of works of art. For the earlier period the main evidence is provided by guidebooks and other publications of a more general type, especially in Italy, which often incorporated the names of leading artists, but seldom provided information about their careers or where their works could be seen. This (...) situation only began to change in a significant way in the second half of the seventeenth century. From that time onwards a new type of publication appeared, that is to say catalogues of major collections of paintings usually open to members of the public. This development was particularly evident in Germany and later in Austria. Such publications rarely included much historical or chronological information about the artists themselves, and the collections were only rarely arranged on geographical or chronological lines, a practice at first mainly confined to early paintings which previously had rarely been displayed at all. A more didactic and historical approach to display and to the compilation of museum catalogues only emerged from around 1850, after Frédéric Villot, curator of paintings at the Louvre, created the model for a new type of catalogue intended both as a contribution to art-historical knowledge and as a source of information for visitors. (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)

In lieu of an abstract, here is a brief excerpt of the content:Museum Education and the Project of Interpretation in the Twenty-First CenturyRika Burnham and Elliott Kai-KeeThis is what we shall look for as we move: freedom developed by human beings who have acted to make a space for themselves in the presence of others, human beings become "challengers" ready for alternatives, alternatives that include caring and community. And we shall seek, as we go, implications for emancipatory education conducted by (...) and for those willing to take responsibility for themselves and for each other. We want to discover how to open spaces for persons in their plurality, spaces where they can become different, where they can grow.—Maxine Greene, The Dialectic of Freedom, 56In the art museum of the future, we walk into a gallery in which the hum of conversation fills the space. A small group of visitors clusters around a single work of art, exchanging their observations, led quietly in their conversation by a museum educator. The group has gathered for a program in which visitors are invited into a dialogue with the educator, with each other, and above all, with the artwork. As this group's conversation concludes, other groups will take their place, attending to different works of art, unfolding them in different ways.We share with David Carrier a vision of the future museum rooted in the Enlightenment dream of a sphere of conversation accessible to all citizens, a public museum space "devoted to a genuinely democratic talk about visual art." In such a museum the galleries are not primarily considered places where art historical information is transferred. They are instead redefined as places where conversation takes place around works of art and where the project of interpretation is constantly enacted.The educators who are responsible for these conversations have a central place in the future museum. Once charged with translating curatorial interpretations to the public, educators are now charged with including everyone [End Page 11] in the translation of the artworks. Knowledgeable in the collections and experienced with audiences, they bring people and works of art together for appreciation and exploration. Engaged in the exchange of thoughts and observations about artworks, carried into the back-and-forth flow of discussion about the artworks, visitors translate impressions into conjectures, and, ideally, understanding and interpretation.Visitors come to the museum to learn about art through gallery conversations during which they actively take part in a form of interpretive play that animates, and in a sense performs, works of art as visitors look at them and talk about them. When the play is successful, it is full of energy and passion. The museum galleries become active places where ideas are freely exchanged, where hermeneutic improvisation and experimentation are encouraged and valued.The constantly recurring play of art makes the museum a place of interpretive freedom, open to many viewpoints and the possibility of multiple interpretations. Educator and visitor both realize that understandings of works of art are never complete. They know that every conversation opens the artworks to the possibility of new meanings and new interpretations.In the museum of the future, the mission of offering visitors such special experiences is not distinct from the museum's traditional charge of caring for the objects in its collections. For it is only when visitors attend to the works of art, and interpret them, that the artworks come alive. As John Dewey said almost a century ago, the work of art comes alive in the viewer's experience. Visitors, educators, and curators share in the endeavor of making sense of works of art, each taking their own part in the process of bringing them to life with their scrutiny, and keeping them alive as they interpret and reinterpret them.The deepest and most affecting experiences visitors have in art museums are those in which they share in the unfolding, unraveling, and translation of the meaning of artworks. In the museum of the future, everyone is invited into such conversations. Everyone understands that they are important participants in the lives of the objects displayed there, as they take part in the play of interpretation that dances around them.Museums are first and foremost for people; they are... (shrink)

History in times of crisis is practical: future action depends on historical framing. Moving beyond “human scales” to include the evolutionary and the geological, and beyond humans to include other species, demands different approaches and new “archives” like ice-cores. This paper considers history in the Long Now, and particularly how museums and big public arts institutions develop new sorts of history through practical story-telling, taking seriously the notion that “the central role of museums [is] both an expression (...) of cultural identity and … a powerful force for human development and education.” The museum has a particular value as “slow media”, deepening news stories in times of rapid change. The new epoch of Earth, the Anthropocene, where humans have become a geological force, poses challenges for exhibitions, but also reshapes museums themselves. Crucial to managing stories, collections and objects in Anthropocene times is the capacity to change course, to remain open to new developments, using performances, events and “pop-up” exhibitions alongside traditional museum offerings. New Museology regards stories as the fundamental unit of museums. Thus, the curation of stories is central work. No longer are museums defined solely by objects: the artistic and the ephemeral are all part of story-telling. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.1 (2003) 107-119 [Access article in PDF] Museum as Process Carol S. Jeffers Introduction Today's art museums are committed to completing major expansion and renovation projects, and vigorously carrying out their stated missions. 1 These missions typically are concerned with processes of acquisition, preservation, exhibition, and education. The National Gallery of Art, for example, is dedicated to "preserving, collecting, exhibiting, and fostering the (...) understanding of works of art." 2 Similarly, the Getty Museum at the J. Paul Getty Center seeks to "delight, inspire, and educate the public by acquiring, conserving, studying, exhibiting, and interpreting works of art." 3 Such processes are strategic, of course, and give direction and purpose to the range of programs and services offered by these institutions. Ensuring that visitors are surrounded by works of art, "at the highest quality," these processes also give rise to a particular view of the museum as an "object of reflection, contemplation, and discussion." 4Although unstated, I shall argue that art museums typically have other missions that are actively, if insidiously implemented through processes of representation (re-presentation), socialization, institutionalization, and commodification.The museum functions as a "socializing institution," that both represents and presents cultural assumptions, as well as social and aesthetic values to young and old alike. 5 These processes succeed in establishing an "ideology of aesthetic autonomy — the compartmental conception of fine art that segregates it to the separate realm of the museum." 6 Simultaneously, they present "ideology in material form." 7 The museum itself is a representation that tends to take on an independent and ultimately self-reflecting existence. In a Debordian view, "it is a spectacle, which, in its generality, is a concrete inversion of life, and as such, the autonomous movement of 8 [End Page 107] non-life." Through processes of representation and commodification, the spectacular museum is constructed as a frame that influences the public perception of art and society. Moreover, this ideological frame influences how the public experiences constructs of time and place, and how it comes to know about art in relation to the real world.Today's thriving art museums — and the various processes that deliver both their overt and covert missions — are likely to have a greater impact on society than ever before. With such potential, it seems especially important at this juncture to examine critically the art museum as process; to deconstruct that which has been "constructed as a symbol in Western society since the Renaissance." 9 In undertaking such an examination, then, the first task is to describe current museum impact on the public. Of special concern are questions about what the museum represents to its visitors, particularly to young students and teachers, and how these representations shape constructions of knowledge, conceptions of art, and roles for visitors and artists. Contemporary representations themselves raise questions about the historical context in which they originated, developed, and were carried forward. As a second task, then, this essay will present a historical-critical analysis that integrates several theoretical perspectives on the origins, development, and implications of the Western museum and its various processes. Next, I will consider the possibility and implications of visitor impact on museum processes. This last section includes examples of alternative museum approaches whose mission is implemented through active visitor participation in processes of conversation and community. Collecting and Exhibiting: The Museum as Sacred Grove The museum as a symbol in Western society is apparently recognized and understood as such, even by its youngest members. Children in the United States, Canada, and France, for example, can offer definitions of an art or other museum, and know how to "act and react" within one, even though they may have had extremely limited ornoprior museum experiences. 10 To these children, a museum is a venerable, quiet place, "like the library." 11 When asked, "what is a museum?" children typically respond with: "a place to collect things," or "a big place where lots of people go" to see "old stuff" and "lots of pictures." 12 In general, children seem to view museums as sites for exposition, and as repositories for... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.1 (2003) 107-119 [Access article in PDF] Museum as Process Carol S. Jeffers Introduction Today's art museums are committed to completing major expansion and renovation projects, and vigorously carrying out their stated missions. 1 These missions typically are concerned with processes of acquisition, preservation, exhibition, and education. The National Gallery of Art, for example, is dedicated to "preserving, collecting, exhibiting, and fostering the (...) understanding of works of art." 2 Similarly, the Getty Museum at the J. Paul Getty Center seeks to "delight, inspire, and educate the public by acquiring, conserving, studying, exhibiting, and interpreting works of art." 3 Such processes are strategic, of course, and give direction and purpose to the range of programs and services offered by these institutions. Ensuring that visitors are surrounded by works of art, "at the highest quality," these processes also give rise to a particular view of the museum as an "object of reflection, contemplation, and discussion." 4Although unstated, I shall argue that art museums typically have other missions that are actively, if insidiously implemented through processes of representation (re-presentation), socialization, institutionalization, and commodification.The museum functions as a "socializing institution," that both represents and presents cultural assumptions, as well as social and aesthetic values to young and old alike. 5 These processes succeed in establishing an "ideology of aesthetic autonomy — the compartmental conception of fine art that segregates it to the separate realm of the museum." 6 Simultaneously, they present "ideology in material form." 7 The museum itself is a representation that tends to take on an independent and ultimately self-reflecting existence. In a Debordian view, "it is a spectacle, which, in its generality, is a concrete inversion of life, and as such, the autonomous movement of 8 [End Page 107] non-life." Through processes of representation and commodification, the spectacular museum is constructed as a frame that influences the public perception of art and society. Moreover, this ideological frame influences how the public experiences constructs of time and place, and how it comes to know about art in relation to the real world.Today's thriving art museums — and the various processes that deliver both their overt and covert missions — are likely to have a greater impact on society than ever before. With such potential, it seems especially important at this juncture to examine critically the art museum as process; to deconstruct that which has been "constructed as a symbol in Western society since the Renaissance." 9 In undertaking such an examination, then, the first task is to describe current museum impact on the public. Of special concern are questions about what the museum represents to its visitors, particularly to young students and teachers, and how these representations shape constructions of knowledge, conceptions of art, and roles for visitors and artists. Contemporary representations themselves raise questions about the historical context in which they originated, developed, and were carried forward. As a second task, then, this essay will present a historical-critical analysis that integrates several theoretical perspectives on the origins, development, and implications of the Western museum and its various processes. Next, I will consider the possibility and implications of visitor impact on museum processes. This last section includes examples of alternative museum approaches whose mission is implemented through active visitor participation in processes of conversation and community. Collecting and Exhibiting: The Museum as Sacred Grove The museum as a symbol in Western society is apparently recognized and understood as such, even by its youngest members. Children in the United States, Canada, and France, for example, can offer definitions of an art or other museum, and know how to "act and react" within one, even though they may have had extremely limited ornoprior museum experiences. 10 To these children, a museum is a venerable, quiet place, "like the library." 11 When asked, "what is a museum?" children typically respond with: "a place to collect things," or "a big place where lots of people go" to see "old stuff" and "lots of pictures." 12 In general, children seem to view museums as sites for exposition, and as repositories for... (shrink)

This paper explores the use of new scientific techniques to examine collections of historic scientific apparatus and other technological artefacts. One project under discussion uses interferometry to examine the history of lens development, while another uses X-ray fluorescence to discover the kinds of materials used to make early mathematical and astronomical instruments. These methods lead to surprising findings: instruments turn out to be fake, and lens makers turn out to have been adept at solving the riddle of aperture. Although exciting, (...) in some ways this is neither novel nor particularly unusual. After all, lab techniques have been used in art and archaeological collections for a very long time. In fact, scientific instruments themselves have been examined in this way since at least the 1950s. What, then, is special about the use of new instruments to examine old instruments? We argue that the answer has less to do with measuring historical innovation or establishing priority, and more to do with networks of craft know-how that, typically, have left no other historical traces than those embodied in surviving instruments themselves. We show, in particular, how collections of objects can be mobilised within wider histories of knowledge, placing instruments within a dynamic interplay of craft knowledge, expertise, labour, commerce, and material exchange, over the longue durée. Finally, we suggest that these kinds of lab analyses can be given an extra dimension through the use of computational modelling, and we introduce the “Tools of Knowledge” project, which is designed to bring together XRF with techniques from the digital humanities, in order to tell a new story about the development of scientific instruments from the 16th to the 20th century. (shrink)

The European bison is one of the last remnants of the megafauna that once roamed through Europe. By the early modern period, it had already disappeared from most of its former range and had become a coveted natural curiosity as well as been designated as royal game. In the 18th century, the last population of lowland European bison surviving in the Białowieża Forest became an object of study for naturalists. When the forest became a part of the Russian Empire during (...) the 19th and early 20th centuries, it was the Russian Imperial family's attention to the species that ensured its survival. In the same period, the European bison was of the utmost importance to the scientific community—as a research subject (on the taxonomic position of the species, its relation to extinct Bovidae, etc.) and as a museum exhibit (to attract audiences interested in seeing the largest European mammal). Obtaining such a specimen demanded the scientific community's adept maneuvering through diplomatic and bureaucratic channels and depended on the Russian monarch's goodwill.The tsar's permission was only a start, as naturalists themselves had to organize hunts, process the pelt and bones, and deliver them to museums. Despite the considerable organizational and logistical difficulties, by the late 19th and early 20th centuries, many museums were displaying the European bison, which succeeded in making the species well known to the wider public. In 1919, the last wild Białowieża bison was killed, but the popularity of this species helped the reintroduction of the animal a decade later. Today, the historical specimens are a source of samples for both genetic and molecular research. (shrink)

This chapter contains sections titled: Respecting Sacred Objects: Some Difficulties Alternative Grounds for Respect: The Historical and Aesthetic Properties of an Object.

In 2020, TICCIH published its thematic study on oil heritage, the first global assessment of the heritage of petroleum production and the oil industry, and of the places, structures, sites, and landscapes that might be conserved for their historical, technical, social, or architectural attributes. In many cases, the petroleum production sites and historical infrastructures, situated in corrosive and fragile landscapes, are costly to conserve, challenging to re-use, and pre-function considering their contribution to climate change. TICCIH also included the (...) proposals for criteria to evaluate this heritage and priorities for conserving the most important sites, ensembles, and landscapes, from regional inventories up to World Heritage sites. In this report, the heritage of the petroleum industry is defined as ‘the most significant fixed, tangible evidence for the discovery, exploitation, production, and consumption of petroleum products and their impact on human and natural landscapes’. While the importance of the historical evidence for the oil industry as a tangible cultural heritage is self-evident, it is also challenging to define an integrated and holistic strategy from a conversation point of view. For achieving holistic and methodological re-use strategies, it is required to reconsider various factors such as national policies and economic systems. (shrink)

Accounts of the relation between theories and models in biology concentrate on mathematical models. In this paper I consider the dual role of models as representations of natural systems and as a material basis for theorizing. In order to explicate the dual role, I develop the concept of a remnant model, a material entity made from parts of the natural system(s) under study. I present a case study of an important but neglected naturalist, Joseph Grinnell, to illustrate the extent to (...) which mundane practices in a museum setting constitute theorizing. I speculate that historical and sociological analyses of institutions can play a specific role in the philosophical analysis of model-building strategies. (shrink)

Borrowing from the title and some of the content of Karl Popper's The Open Society and its Enemies, it is argued that museums have great value as sites for what may be called a philosophical culture. A philosophical culture is one in which members or citizens engage in fair-minded debate and shared reflection, presenting and evaluating reasons for different positions particularly as these have relevance for matters of governance. In a philosophical culture, persuasion is almost always a matter of (...) seeking to provide reasonable grounds for adopting some position without resorting to violence or physical force.A philosophical culture is, in turn, an important foundation for a democratic culture and republic. A philosophy of museums emerges, a model we shall call the Philosophical Culture Museum Model. This concept is stipulative and ideal in the sense that it presents a paradigm of a museum with great virtue and promise. It must be confessed, however, that, historically, this is an emerging concept of the role of museums and one not evident in many of the museums in the early modern era or today. Reasons are offered as to why the time may be right to recognize the philosophy of museums as a particular sub-field in the overall practice of philosophy. (shrink)

Holocaust museums record and memorialize deeply affecting historical events. They can nevertheless be described and criticized using standard categories of museum analysis. This paper departs from previous studies of Holocaust museums by focusing not on ethical or aesthetic issues, but rather on ontological, epistemic, and taxonomic considerations. I begin by analysing the ontological basis of the educational value of various objects commonly displayed in Holocaust museums. I argue that this educational value is not intrinsic to the (...) objects themselves, but rather stems from the extrinsic relations established between objects in museum exhibitions and displays. Next, I consider the epistemic, or knowledge-creating, function of Holocaust museums. I argue that the structure of public displays in such museums reflects the particular, document-based epistemology that continues to characterize Holocaust historiography and other fields of Holocaust research. Finally, I turn to examine taxonomic features of Holocaust museums. As I explain, both professional and ‘artefactual’ networks link the activities and display strategies of national, regional, and local Holocaust museums. A brief conclusion sketches some implications of my analysis for ongoing debates about the ethical function of Holocaust museums. (shrink)

In 1907 the taxidermist Aleksandr Feodorovich Kohts founded a so-called "Museum Darwinianum" in Moscow. This museum first of all hosted a growing collection of stuffed, modelled, and visualized species and secondly — from 1913 on — a laboratory for the exploration of the evolution of species ruled by Koht's wife and psychologist Nadeshda Nikolaevna Ladygina-Kohts. While he was mainly dealing with dead animals and models, his wife was comparing the behaviour of a young chimpanzee to the behaviour of her little (...) son. Ladygina-Koht's study was unique at the time and therefore acknowledged by colleagues worldwide. That she was using photomontages for her comparisons and how this has influenced her research has not yet been considered in historical accounts. The article will examine this medial practice in order to understand how these seemingly opposing approaches could have both been dedicated to Darwin's evolutionary theory. (shrink)

The aim of this paper is to have a better architectonic insight over the museum of Gjergj Kastriot Skanderbeg in the city of Kruja. The history for which Albanians are proud will be the focus of this paper from its genesis until now, always seeing its architectural perspective. The castle as the last resistance of Albanians at the time of Turkish occupation will be analyzed; together with the mode of implementation of the new Museum Gjergj Kastriot Skenderbeu at the time (...) of socialism. Who were the ideas of the ideologies of the time? What were the secrets of the building design? What were the secrets of the construction of the building? What were the motivations and inspirations of the architects and the design group? The paper will contain historical dating, direct interviews with architects of the building, and authentic architectural analysis of the building. Museum of Kruja is a work that belongs not only to Albanians but all of Europe and Balkan. Today it is one of the most visited works throughout the country. (shrink)

Museums are conventionally viewed as institutions dedicated to the conservation of valued objects and the education of the public. Recently, controversies have arisen regarding the representation of history in museums. National museums in America and Germany considered here, such as the Smithsonian's Air and Space Museum, the Holocaust Memorial Museum, and the German Historical Museum, have become sites of contention where national histories and personal memories are often at odds. Contemporary art installations in museums which (...) take historical consciousness as their theme similarly raise contentious issues about public knowledge of and personal interest in the past. When members of publics find that their memories of the past or their expectations for museum experiences are not being met, a kind of "distortion" occurs. The "distortion" related to memory and history in the museum is not so much of facts or interpretations, but rather a distortion from the lack of congruity between personal experience and expectation, on the one hand, and the institutional representation of the past on the other. This essay explores the possibilities for a redefined relationship between personal memory and history that is experienced in contemporary museums. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Taking Up Space:Museum Exploration in the Twenty-First CenturyTiffany Sutton (bio)Museums have become a crucible for questions of the role that traditional art and art history should play in contemporary art. Friedrich Nietzsche argued in the nineteenth century that museums can be no more than mausoleums for effete (fine) art.1 Over the course of the twentieth century, however, curators dispelled such blanket pessimism by showing that what keeps (...) historical art museums, both comprehensive and modern, "alive" and relevant in the modern art world are the things that curators do with the artworks in their collections.2 In certain cases, I will argue in this article, the focus on artworks and the relationship between them can be rewardingly shifted onto the spatial aspect of the museum. I will try to show what such a shift of focus entails, show that it involves a gestalt shift (in Wittgenstein's terms, the "dawning of an aspect"), and illustrate the limits within which this can arise.3 The foremost of these limiting factors is museum architecture, and I will discuss this to the extent that it determines the limits of what curators can do. How architects do things with museums, however, lies outside the scope of this article.An Art Historical Heuristic Gets a Curatorial MakeoverNineteenth-century art museums typically were vast, labyrinthine, and built to assume the shape of a comprehensive art historical narrative, so they were easy targets for ideologues drawn to vibrant modern artworks and the controversy surrounding them. At the turn of the twentieth century new commercial galleries developed a distinctively modern mode of display in which individual artworks were showcased with plenty of space around them.4 Had existing museums changed their ways to accommodate these developments, the momentum of a new aesthetic of flatness, surface, [End Page 87] and yet purer forms of conceptualism would have been lost. It was not a time for absorption and deflation: new museums, no less monumental and historical but smaller and with fewer volumes, were commissioned to give modern art the appearance of a fresh start.5 The weightless upward mobility of Frank Lloyd Wright's Guggenheim Museum in Manhattan, modeled in 1945 and opened to the public in 1959, consummated this trend of the first half of the twentieth century and gave it its purest form. What the building spurt revealed was that as art changes, it demands to be reflected in its surroundings, not merely accommodated. That the response was to build new museums rather than new wings suggests the inner workings of the principle—call it "curatorial heuristic one"—that, whereas art history is fluid and simply flows forward with new developments, museums are not of this nature; they can become effete.The curatorial revision of this heuristic was a century in coming. As often happens when emerging movements are yet underdetermined, modernism suppressed in its beginnings the background factor that would seem to entail the end of modern art when finally brought into focus: the very context of display that had once set it apart. Duchamp's Readymades (1913) gave the initial nod (or wink) to the gallery context; it was, however, ignored, as a suppressed punch line, until art history was ready to concede the importance of the context of display—not in the gallery, but in the museum—to a site-specific artwork by Richard Serra: his Splashing and Prop (1968). With the museum's framing context and, concomitantly, the importance of the curator's work conceded, the barrier that had kept lesser masterpieces in the basement (or out of the museum) were removed. Unearthed, these began to circulate, and attention centered on the relation in which they stood to better-known artworks, either as suppressed alternates or as descendants of an artistic lineage. So postmodern sprawl began, with the display of multiple alternative art histories drawing, as modernism had, on available display conventions for periodizing according to internal principles (period, school, genre, style) such that detection of them devolved upon the viewer.When public uses for the new public museums began to diversify (from an historical/educational focus to aesthetic/educational and cultural/political ones), principles for ordering artworks were... (shrink)

ZusammenfassungDieser Beitrag ist Teil des Forums COVID-19: Perspektiven in den Geistes- und Sozialwissenschaften. Die Figur des Pestarztes mit der schnabelförmigen Maske ist heute die am häufigsten zitierte Bildmetapher für die Pest. Es verwundert daher nicht, dass die Pestarztmaske in der Sammlung des Deutschen Medizinhistorischen Museums in Ingolstadt zu den am meisten nachgefragten Objekten und Bildmotiven des Hauses gehört. Der Forumsbeitrag spürt der Figur des Pestarztes auf mehreren Ebenen nach: Zunächst wird anhand zeitgenössischer Text- und Bildquellen diskutiert, welche Art von (...) Schutzkleidung zu Seuchenzeiten empfohlen wurde und welche Rolle das schnabelförmige Maskenattribut dabei spielte. Anschließend wird das Ingolstädter Exemplar unter die Lupe genommen, hinsichtlich seines Materials und seiner Machart auf Authentizität und Praktikabilität hin untersucht und mit dem Exemplar des Deutschen Historischen Museums in Berlin verglichen.Das Ergebnis: Die frühesten Belege für die Verwendung dieser speziellen Art von Schutzkleidung stammen aus Italien und Südfrankreich und datieren aus der Mitte des 17. Jahrhunderts. Für Mitteleuropa gibt es keinerlei Nachweise dafür, dass zu Pestzeiten jemals eine solche Schnabelmaske in Gebrauch gewesen wäre. Und die Pestarztmasken in Ingolstadt und Berlin? Bei kritischer Betrachtung finden sich bei beiden Masken Details, die gegen eine Verwendung als Schutzkleidung sprechen. Ob es sich dabei um ältere, historisierende Nachbauten oder bewusste Fälschungen handelt, muss offen bleiben.This paper is part of Forum COVID-19: Perspectives in the Humanities and Social Sciences. The figure of the plague doctor with the beak mask has become the symbol of the plague par excellence. It’s little wonder that the plague mask in the collection of the German Museum of the History of Medicine in Ingolstadt is one of the museum’s most popular objects and motifs. This forum paper investigates the figure of the plague doctor on several levels: first, it analyses contemporary textual and image sources in regard to protective clothing used in times of plague and the respective role of the beak-like part of the mask. Then it takes a close look at the Ingolstadt specimen. By examining the mask’s materiality and fabrication, questions of its authenticity and practicability are raised. Finally, the Ingolstadt mask is compared with the specimen at the German Historical Museum in Berlin.The conclusion: the beak mask is not mentioned before the mid-seventeenth century, and then only in Italy and Southern France. There is no proof at all of its use during plague outbreaks in Middle Europe. And the specimens in Ingolstadt and Berlin? Both masks present details which suggest that they were not used as protective clothing at all. We do not know, however, if they were produced as replicas for historic reasons or as fakes for the modern art market. (shrink)