190 Slices
Medium 9781442267527

Archives and Museums: Balance and Development in Presidential Libraries

Collections Altamira Press ePub

Susannah Benedetti

Special Formats Catalog Librarian and Lecturer, Randall Library, University of North Carolina—Wilmington, 601 S. College Road, Wilmington, NC 28403 (benedettis@uncw.edu).

AbstractThe nation’s presidential libraries are pillars of the American archival profession, and their adjoining museums serve as popular tourist destinations. Franklin D. Roosevelt created the modern presidential library with both elements in place, to ensure access to enduring documentary evidence of the presidency for the scholarly community as well as the general public. What are the origins of Roosevelt’s decision? How did his successors tailor their individual presidential libraries to reflect their desires and the standards of changing times and expectations? Has the dual mission of archival and museum operations retained its balance and integrity over the intervening sixty-plus years? An overview of the origins and development of the presidential library system seeks to answer these questions and reflect the strengths and weaknesses of the system.

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Medium 9781442267763

Artists, Patrons and the Public: Why Culture Changes

Collections Altamira Press ePub

by Barry Lord and Gail Dexter Lord. Lanham, MD; Plymouth, U.K.: AltaMira Press. 2010. 216 pp. ISBN: 978-0-7591-1848-5

Reviewed by Susan Martis, Ph.D., SAGES Fellow, Case Western Reserve University, Crawford Hall 110 LC7178, 10900 Euclid Avenue, Cleveland, OH 44106; email: susan.martis@case.edu.

Artists, Patrons and the Public: Why Culture Changes by Barry Lord and Gail Dexter Lord features an examination of aesthetic culture while elucidating its relationship to life experiences in general. By focusing on cultural change and the people who participate in it, this book provides a distinctive analysis of aspects often marginalized in textbooks and exhibitions. The authors utilize familiar works of art and their creators from art history, music, theater, and literature to explain their statements, but concepts emerge from and will appeal to a broad range of academic and general interests. Indeed, the last two chapters address topical issues of the environment, globalism, urbanism, and technology.

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Medium 9781442267817

Notes from the Field

Collections Altamira Press ePub

Heather A. Wade

CAE, Executive Director, The Conococheague Institute for the Study of Cultural Heritage, 12995 Bain Road, Mercersburg, Pennsylvania 17236, (717)328-3467, email: heatherwade@innernet.net

Note: At the time that I wrote this article, I served on the faculty of Emporia State University as University Archivist.

Late in the fall 2009 semester, Dean Joyce Davis announced at a meeting of the University Libraries and Archives Administrative Team at Emporia State University that a new undergraduate summer research program had been proposed and it was anticipated that funding would be available to begin the program in the summer of 2010. She had committed funding from our unit to show support for the program, which, regardless of its specific participants’ areas of study, was bound to involve academic resources in the Libraries and Archives.

Dr. Tim Burnett, associate professor of biological sciences, had spearheaded the development of the summer research program in conjunction with the university’s Undergraduate Research, Scholarship, and Creative Activities Committee. Based on a National Institute of Health-funded,1 state-wide program called the Kansas Idea Network of Biomedical Research Excellence (KINBRE), which emphasized support for undergraduates to gain hands-on research experience in the sciences to encourage them to go on to graduate studies and to develop into career-professionals.2 Using the Kansas Idea Network as a template, faculty at Emporia State University developed a curriculum-wide undergraduate summer research model that would function as follows:

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Medium 9781442267893

Permanent Collection: Increasing the Visibility of African American Art in a University Museum

Collections Altamira Press ePub

Bridget R. Cooks

Associate Professor, Program in African American Studies and Department of Art History, University of California, Irvine, 2000 Humanities Gateway, UC Irvine, Irvine, California 92697; email: b.cooks@uci.edu

Abstract   This article presents a case study of how a university museum increased its collection of art by African Americans through a collaboration involving a curator, faculty member, and undergraduate students. The article offers an examination of what students want to see in the permanent collection of their university museum and shares student definitions of African American art. Further, the acquisition project provided insight into the relationship between education in the classroom and the museum, object interpretation, cultural representation, art, and race.

Since the 1960s, American art museums have faced an identity crisis. As the fight for racial and gender equality in America’s civic life has increased, the demand for multicultural recognition within the nation’s institutions has grown. Museum directors, curators, and educators have been caught between maintaining a traditional, and often culturally exclusive, practice of collecting, preserving, and presenting historically significant objects for the benefit of the public, or, listening to the diverse constituents outside of the museum broadly referred to as “the public” and “the community.” In the late 1980s through the mid-1990s, the museum’s responsibility to engage new audiences became a mandate for funding through public grants and private foundations.

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Medium 9781442267794

Curating (and) Communities

Collections Altamira Press ePub

Abstract Approaches the ways that exhibitions are produced for particular groups of people, as well as how communities themselves may be formed through curatorial acts of framing and mediation, including the rearticulation of social spaces as a component of radical curating (Wiman), how curators may incorporate traditionally excluded communities in scientific projects (Parry), and one curator’s negotiations with a local community’s notion of “authentic” boricua identity (Rodriguez-Lawton).

Veronica Wiman

Independent Curator

The Agora is one of three elements in my curatorial methodology when practicing and theorizing what I call ‘’Art and Social Practice.” Drawing from Greek notions of civic assembly, the Agora is a space where anyone can attend and act, where opinions can be expressed and shared with others in a community. Craft and Play complete the process and structure as activities that take place within the space I delineate. I claim that this tripartite methodology is radical because it transforms conventional artistic roles and methods. The purpose of my paper is to explicate these three elements as the bases of a radical art praxis so that other curators may incorporate them into their own projects. Perhaps as with the three primary colors, they shall serve as the basic elements that are reinterpreted and responded to in creative and critical manners. Agora, Craft, and Play allow the curator/artist to go beyond language and familiar territories such as the museum, gallery, walls, floor, sculpture park, and so on.

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