Museums and Heritage

Angharad goes to a museum!

2010-04-29T07:47:00.003+01:00

the People's History Museum is only about 10 mins walk from the Centenary Building so I got down there yesterday late afternoon for the last hour before it closed. I thought it was great. Possibly the combination of the content - with which I have a lot of sympathy - and the, I thought, well designed displays and interactives. The text is large and there's not too much of it and the themes are easy to follow. I struggled a bit finding my way round though, there seemed to be some parts you should not go into ... but then you had to to get into another gallery...

I loved the top floor with the banners and took lots of pics on my phone but for some reason my card reader won't work just now so I can't upload any.

What did intrigue me was the gallery of photos of demonstrations - or as one of the gallery guides said to me ' the pictures of the police beating people up'. (Not really how the gallery means it to be seen I thought!) What issues does this raise for the depiction of the police at the Police Museum? Could the two be brought together?

just a thought!

Museum in 'not boring' shocker

2009-11-24T15:13:00.006Z

With a dust allergy and a hatred of all things dull, I’m a difficult-to-please museum visitor. Unlike the surly teenage kids that you see dragging their feet from pottery fragment to pottery fragment, I can’t even be pacified by the inclusion of some supposedly contemporary ‘gaming’ element or a shoe-horned reference to graffiti. So it came as a genuine surprise when two separate exhibitions recently caught my imagination.

Experienced just days apart – yet actually separated by the Equator - Carson & Miller’s The Story of Things and Fritha Langerman’s Subtle Thresholds were both fascinating in their use of collections. The former carefully selected items from the North West Film Archive and MMU Special Collections to create new relationships and narratives between supposedly unrelated objects. Particularly inspiring was the juxtaposition of looped video excerpts depicting exorcisms in a Manchester church with African witchdoctor footage from the same era. The focus on similarity was then far more interesting than how these films might have been interpreted elsewhere: where a more formulaic emphasis on differences between ‘our’ culture and what is seen on screen could have been suggested.

While Carson & Miller allowed for general randomness, ambiguity and the projection of theoretical constructs, Langerman’s approach was empirical yet no less thought-provoking. Stumbled upon quite by accident at the Iziko South African Museum, it came with an intriguing subheading of ‘the representational taxonomies of disease’ and boasted an appearance akin to the Natural History Museum as reconfigured by Damien Hirst.

Scientific apparatus was arranged geometrically while taxidermy exhibits (that might have been reduced to moth food if otherwise ignored in the Cape Town museum’s stores) were found swathed in bandages. As if Christo & Jeanne-Claude had suddenly shacked up with Beatrix Potter, perhaps. Yet amongst all that arresting imagery – including a 68 meter timeline of biblical disease - was a fully explored and communicated concept that was simultaneously able to entertain and educate.

The only down side involved with encountering these inspirational projects is that subsequent collections might now appear that bit more boring.

Daniel Cookney, MA Communication Design

Subversive Spaces

2009-04-08T16:49:00.002+01:00

Hey - has anyone seen the exhibtion at the Whitworth Subversive Spaces - Kinderzimmer - have tried to add a link but best to go see it!!! Its an installation thats in complete darkness, -http://subversivespaces.com/

The Heritage 'Experience'? O2

2009-03-16T11:37:00.002Z

The British Music Experience at the O2 area is now open, at at cost of £9.5M.

Is this the future of the visitor experience? Or a bit of disposable pop culture? Having said that, for collectors the cultural 'disposable' pop culture is now big business, and most likely the exhibits of tomorrow.

Perhaps we need to look at our museum and gallery displays, and consider their representation of cultural progression. Do they actually help us to understand how we got to where we are now? Or are they locked in time, and therefore largely irrelevant to contemporary (and young) visitors in the 21st century?

Do you have a collection, add some comments about it. It may be big or small, off-beat or mainstream. We'd all like to read about it. And why/when you started it. Please feel free to add pics if you want.

It's the Mad Max vision of the Counter-Reformation.

2009-03-16T11:33:00.001Z

To what is AA Gill responding?

Any guesses?

Iconic Images: The Vanity Fair Anniversary Book, National Portrait Gallery

2009-03-12T09:52:00.002Z

Me again. Amongst my tour of London I saaw many postersrelating to an Iconic Images exhibit at the National Portrait Gallery. It shows images from vanity fair from 1913 though to 2003. It has been launched as an advertising strategy for a new book by the gallery.

I went to have a look and was directed down to the basement where the book shop is (clever to have the exhibit right next to the shop) and I have to admit that I was utterly dissapointed.
One you wouldn't know the exhibit was there unless you asked for directions and too it was so dark due to the basement that the pictures looked dull and lifeless. The positioning I can understand as it does encourage you to take a look in the book shop but there were only around ten prints and they are positioned next to the lift and exit way, which i feel doesn't do them the justice they deserve.

I was shocked as aparently the exhibition has been extended until April, however i do question wether this is due to poor book sales more than visitors having a fantastic experience. any way if you get a chance, take a look and see if you agree.

London Fashion Weekend

2009-03-12T09:43:00.002Z

hey all,

As you all know I was at London Fashion Weekend last week, which was held in the grounds of the Natural History Museum. it was a fantastic opportunity to learn more about the history of fashion and the latest current trends. There was also a clear link between the fashion show starting and the opening of the "hats" exhibition at the V and A.

It was interesting to see the link between fashion and culture as well. The opening of the "hats" exhibit was frequented by numerous celebrities and designers, who may not often go to museums etc. Its nice that events like this can bridge a gap between the retail side of fashion and the educational role that it can play.

Above all else it was enjoyable and well will leave you out of pocket hehe

have a look on the link if you are interested in this area.

Who owns our history?

2009-02-24T15:13:00.002Z

George Monbiot, in Comment and Debate (The Guardian 24.2.09) questions the role of the National Trust in 'editing' the history they present to the public. The Trust aims to act as guardian and trustee for the nation, as proprietor (owner) of many the the examples of architecture and social history in the country. As a fund raiser, the Trust aims to attract visitors, to increase its membership, and act as conservator of our heritage.

Monbiot questions the sanitisation of history by the trust, giving examples where the life of the actual users of the buildings are not mentioned; where perhaps not to scare visitors away with too much realism, history is selective. Admitting that "we can never hope to fully understand the past, but we can recognise that history is open to widely different interpretations... The Trust is ready to explore unfamiliar and uncomfortable history in new ways."

As a member of the National Trust, I have visited many sites and buildings. Never have I been exposed to "uncomfortable history" or seen displays or material which truly explores the true nature of the life for the inhabitants over the years.

Has time come to perhaps admit the past to the present, and freely discuss how lives were lived, how we view and evaluate them, or are we not ready for such a bold step?

see: monbiot.com

The Guardian, page 31. 24.2.09

In the Media: 24 February 2009

2009-02-24T15:10:00.002Z

In the library, with the guide book - Christie's home opens:

Following the refurbishment of Agatha Christie's Devon home 'Greenway', the National Trust opens it to the public.

The Guardian. Page 12. 24th February 2009.

In the Media: 20 February 2009

2009-02-20T10:57:00.002Z

British Library buys Futurists' metal manifesto. 27 page metal book bought for £83,000 by the British Library. Glorifying was, it urges artists to look forward and embrace aggression, speed and technology.

The Guardian. 20th February 2009. Page 15.

Gallery Giants reach uneasy truce over great 1900 divide. The lapse of a 1996 agreement in 2007, outlining the divide between the collections of the Tate and National Gallery, has resulted in agreement after four years of disagreement over the cut-off dates for their collections.

The Guardian. 20th February 2009. Page 15.

Back to the Futurists. Rome is honoring Italy's avant-garde movement.

The Independent. 20th February 2009. Page 29.

Design & Environment: Effect on the user (MIT research)

2009-02-19T15:45:00.003Z

The Massachusetts Institute of Technology, Centre for Advanced Visual Studies discusses the work from the early 1970's by Michael Asher, Hans Haacke and Adrian Piper, criticizing the (physical) structures of the art world.

http://cavs.mit.edu/artists.html?id=264,716

..."some artists took special interest in how art spaces reinforced specific codes of behavior"...

as interpreters, designers and communicators, we consider the visitor, the artifact, the words, image, and communication medium, but how much control is there over the physical environment where it is used/viewed?

Should we question how the environment affects the communication and understanding of the design/message? In museums and galleries we venerate the items on display, historically viewing them in hushed tones. Communication design for the other markets is possibly more open to other influences. Could the use of adaptive design be considered? Whilst this would at the outset seem to preclude anything but screen based design, are there print media and other formats which could be used this way too?

religulous - I know the names wierd

2009-02-18T21:30:00.003Z

hello everyone!

I wanted a relaxing evening tonight, so I decided to watch a documentary which was recommended by a friend. Its called Religulous and I have to say it is the most thought provoking look at religions in our society that I have ever seen. there are even some museums involved!

As a warning some viewers may find it offensive, however whatever your religious views are it does create some extremely interesting questions about our heritage and how religion and culture shape our world. Its light hearted and very funny in places but serious at the same time.

If this interests you check it out online.

see you tomorow
carice

Art v Design v Craft

2009-02-17T15:48:00.003Z

Hi All,

I have just returned from a presentation given by David Crow, Professor of Design at Manchester Metropolitan University.

David presented an overview on the development of craft (production and craftsmanship) giving examples of the process from William Morris, through to the use of computing technology of our century. The image of 'craft' being 'messy' was dispelled in the opening up of craft to programming, and the random and intuitive factors, accidents or experiments, which liken the new medium to that of the potter or sculptor.

The work of Universal Everything (universaleverything.com) was introduced as an example of the new medium, and the craft element the 'designer' may bring to it.

In Heritage, we are ever mindful of the changes in art, design, craft and technology, and should be aware that we may bring our own perceptions and prejudices to the design, interpretation or presentation of material. Perhaps we should re-visit the notion of craft?

IWMN holds consultation on external space.

2009-02-17T10:44:00.002Z

"Imperial War Museum North: Inviting visitors' views on design proposals for its external spaces, which will be on display in the on-site Watershard Cafe between February 13 and 25. Five potential ideas have been shortlisted and IWMN would like to find out what visitors think..."

Read the article at:

www.citylife.co.uk//arts/news/12490_iwmn_holds_public_consultation?rss=yes

In the Media: 16 February 2009

2009-02-16T11:36:00.004Z

Treasure raiders scooping up UK heritage: The use of metal detectors and on-line auctions to strip rural Britain of its riches is discussed.

The Guardian. 16 February 2009. Page 13.

Greeks argue over status and statue of Alexander: The display location and status of the statue of Alexander is discussed, along with the influence of the 'purveyors of Greece's past'.

The Guardian. 16 February 2009. Page 23.

Let's do the timewarp again: Overview of the Russian Linesman at the Hayward Gallery. Until 4th May 2009.

The Guardian G2. 16 February 2009. Pages 19-21.

The Victorians: BBC2 Sundays starting 15th February. 4 Parts.

Review of programme one, presented by Jeremy Paxman.

The Guardian G2. 16 February 2009. Page 28.

Museums and Visitors: Membership issues

2009-02-12T12:20:00.003Z

Brooklyn Museum has launched a variety of membership schemes, to encourage and recognise the value non-traditional membership visitors bring to the Museum. Initially identifying Members as "lifelong learners...and donors, who support the museum" the families and other media visitors (eg. bloggers) who are also enthusiastic, do not join.

Whilst the issue of cost was raised, the article discusses the benefits for both the institution, and the new visitor, with a new structure of membership categories. The use of social networks, blogs etc is discussed, and the influence of those media on the communication and perceived value for money of the $20 membership costs.

Should or could we adopt such a scheme in the UK. With the traditional patronage of the museums and culture in the UK, would this be a move back to exclusivity? Given the move towards 'free' admission (for the National Museums) funded by the HLF, could the scheme work at this level? Or could it be a marketing/funding/loyalty/branding mechanism for those outside the HLF, and reliant on other funding sources?

Take a look...

http://museumtwo.blogspot.com/2009/02/1stfans-audience-specific-membership.html

In the Media: 10 February 2009

2009-02-10T10:34:00.003Z

At Full Tilt: Overview of the exhibition at Tate Modern of Russian Constructivism.

Guardian G2. Pages 21-23.

My grandad, the clown. Interview with Rodchenko's grandson in Moscow.

Guardian G2. Page 24.

Quiffs Riffs and Tiffs

Exhibition at Salford Museum.

"Celebrating the history of popular music in Salford over the past 50 years - right up to the present day. Explores our everyday musical stories, and takes a look at the current and future sounds coming out of Salford today."

www.salford.gov.uk/leisure/salfordmuseum/exhibitions.html

Until 25th October.

Space, behavior and interpretation.

2009-02-09T12:19:00.003Z

The Massachusetts Institute of Technology, Centre for Advanced Visual Studies (http://cavs.mit.edu/artists.thml?id=264,716) discusses work from the late 1960's into the 1970's by Michael Asher, Hans Haacke and Adrian Piper, criticizing the structures of the art world.

"Some artists took special interest in how art spaces reinforced specific codes of behavior."

As interpreters, designers and communicators, we consider the visitor, the artifact, the words, the communication medium, but how much control is there over the physical environment? The hushed tones of the gallery, possibly with attendants (by sometimes overtly) enforcing it by their presence, brings a code of behavior adopted by (most I would suggest) visitors.

Does this visitor behavior affect the interpretation? Is the veneration of the display a necessity? Whilst there may be academic visitors present, how does the physical environment, and the perceived behavior pattern, add to the experience? Or does it detract? Is it 'normal' for a family to move around in hushed tones, holding 'on high' the display, or the environment? Could the interpretation be adaptive, include more interaction, talk, connections, or cross-generational interaction?

Whilst there are clear factors in display (security, safety, conservation etc) are these at the expense of the experience?

In the Media: 9 February 2009

2009-02-09T09:47:00.003Z

Mummy mia! Scans reveal Egyptian secrets. Hospital scanning techniques have revealed the contents of a 3,000 year old mummy, without opening the casket. The results are on display at the Chicago Oriental Institute Museum.

The Guardian. Page 15.

In the Gloom: Seeing Rembrandt with New Eyes: How does the economic recession affect our perception and interpretation of art? New York Times.

http://www.nytimes.com/2009/01/09/arts/design/09remb.html?_r=3&partner=rss&emc=rss

Interpret Scotland: Confidence with a PDA: January 2009 Issue 18. A project in Glasgow aims to help perople explore themselves, as well as Kelvingrove's collections. Inspiring young people when their self-esteem and confidence are low.

http://www.interpretscotland.org.uk/website/interpretscotland.nsf/byunique/issue18.html/$FILE/pda18.pdf

Darwin's Home & English Heritage

2009-02-09T09:38:00.003Z

Darwin's home of some 40 years, Down House, has been refurbished by the English Heritage, and re-opens to visitors. Nominated as a World Heritage Site, the property includes the house and garden.

For more information, follow the following links:

http://news.bbc.co.uk/1/hi/england/london/4605042.stm

http://www.english-heritage.org.uk/server.php?show=nav.14922

http://news.bbc.co.uk/1/hi/england/782056.stm (site includes video)

Pics from placement

2009-02-06T19:01:00.002Z

In the Media: 6 February 2009

2009-02-06T09:52:00.003Z

Red all over: overview of the Constructivist work created by Alexander Rodchenko and Lyubov Popova. Introducing an exhibition of their work at Tate Modernm opening on 12th Febraury 2009.

The Independent Magazine. 31st January 2009. Pages 44/45.

Poster Boy: Anti-consumerist guerrilla artist, dubbed New York's Banksy.

www.guardian.co.uk/world/2009/feb/04/new-york-poster-boy-street-art

The Guardian Guide. Saturday 17th February 2009. Pages 4-6.

www.guardian.co.uk/art

SMART & SMARTER: a renaissance?

2009-02-05T11:14:00.003Z

The subject of cultural incongruities is explored in the Winter 2009 issue of "Intelligent Life".

Smart and Smarter claims the headline of a discussion about the growth in audiences for more "mind challenging" media and culture. Mixed up audiences at that, listening to Opera on their iPod, yet working as a check out clerk in Tesco. The ever growing numbers of visitors to museums and galleries in the UK (even allowing for the free entry now afforded by the HLF), some 53.8% of the UK population visited a museum in the year to October 2008 (The Museums Journal 2009).

Far from "dumbing down" how can the heritage industry rise to the challenge of a more demanding and culturally aware population?

We may be in a time of economic recession, but is this the start of a renaissance in the arts and design? Who will lead it? Will the north west become more influential with the arrival of the BBC and the associated industry organisations (and money) at the Quays?

In the Media: 5 February 2009

2009-02-05T09:37:00.003Z

Wedgewood Museum 'will survive': "The director of the Wedgewood Museum in Barlaston, Stoke-On-Trent is "confident the institution will survive" despite the announcement that the Waterford Wedgewood Group had gone into administration.

The Museums Journal. February 2009. Page 4.

"Wedgewood Museum, Stoke-On-Trent. Maria Blyzinsky is impressed bt the Wedgewood Museum's combination of social history, manufacturing techniques and the tale of local boy made good."

The Museums Journal. February 2009. Page 47-49.

Best and worst areas for museum visits: "Survey finds that 53.8% of the (UK) population visited a museum in year to October 2008."

The Museums Journal. February 2009. Page 13.

Museum staff told: stop shushing: "Museum attendants should be stopped from "shushing" children, and displays should be hung for youngsters to see properly.."

The Guardian. 5 February 2009. Page 8.

Kung hei fat choy!

2009-02-04T09:39:00.005Z

Happy New Year. Celebrate the year of the Ox.

1 February 2009 in Manchester, the Dragon leaves the Town Hall, and heads towards China Town. A loud and lively parade on the day before the snow arrived in the city.

In the Media: 4 February 2009

2009-02-04T09:28:00.002Z

From pencil to pixel. On line comics, graphic novels and the internet.

The Independent. Independent Life. Page 12/13.

The Wall: 20 years since the last death. The Berlin Wall, the Cold War, and museums/visitor centres.

www.timesonline.co.uk/tol/travel/destinations/germany/article5617880.ece

Dated 1 February 2009.

In the Media: 3 February 2009

2009-02-03T10:26:00.004Z

Titian appeal secures funds to help buy second work. "Gallery directors are campaigning to raise a further £50 million to save a Titian painting..." Guardian. Page 12.

Wreckage of HMS Victory's predecessor discovered in Channel after 265 years.

Guardian. Page 13.

Demolish a wall? No problem. Unsung heroes in the arts. Tate Britain's big new show.

Guardian. G2. Page 21.

In the Media: 2 February 2009

2009-02-02T09:46:00.003Z

Titian masterpiece may have been saved for the nation. "Diana and Actaeon has been saved for the nation after a campaign to raise £50m". The Guardian. Page 3.

The Silent Heroes Memorial Centre. "The first (museum) of its kind dedicated to those who defied the Nazis and helped protect Jews from imminent deportation to the concentration camps". www.bbc.co.uk/radio4/womanshour/04/2009_04_tue.shtml

Wedgewood Museum's new look. "The Wedgewood Museum in Barlaston has undergone a multimillion pound refurbishment and is now one of the major tourist attractions in north Staffordshire." www.bbc.co.uk/stoke/content/articles/2008/02/14/wedgewood_museum_museum_feature.shtml

Ordsall: a museum makeover. It's survived the English Civil War, the Luftwaffe and provided decades of loyal service for Salford, after almost 700 years, it's time for some well earned love and attention. We reveal plans for Ordsall Hall's museum makeover."

www.bbc.co.uk/manchester/content/articles/2009/01/05/050109_ordsall_hall_makeover_feature.shtml

In the Media: The Guardian 30th January

2009-01-30T09:38:00.004Z

Online or in print:

Yves Saint Laurent's collection displayed prior to auction. Quotes the President of Christie's "The greatest exhibition we've ever organised". Pages 2-3.

Polish artist wins commission to fill Tate Modern's Turbine Hall. Miroslaw Balka wins Unilever commission. "..spare, stark work and installations..." Page 15.

Darwin's home nominated as world heritage site. to be Britain's only 2009 nomination for World Heritage Site. Page 19.

Divers plunder Greece's sunken treasure troves. "Government move to boost tourism backfires as looters descend on antiquities". Page 21.

Thomas Campbell, new director/curator of the New York Met's collection. Profile of British born Campbell. Page 31.

Guardian Family-Friendly Museum Award 2009.

2009-01-13T10:21:00.002Z

Via the Guardian, the "Kids In Museums" are launching a 2009 version of its "Kids In Museums Manifesto".

For more info see:

Kidsinmuseums.org.uk/category/manifesto

guardian.co.uk/kidsinmuseums

Which would you vote for?

Why?

Do you remember a museum that you particularly enjoyed visiting when you were a 'kid'?

Has it changed?

Please post your thoughts.

Chris.

Mark's departure.

2009-01-13T10:12:00.004Z

I would like to take the opportunity to thank Mark for his contribution to the life of the Heritage programmes here at Salford.

He leaves a legacy of this Blog, his contributions to the Heritage eNewsletters, but mainly the support and enthusiasm he imparted to the students on the programmes.

We are continuing the Blog and eNewsletters, (and I am soon working on issue 3), and would encourage all students to contribute their thoughts and experiences to both formats.

I know that we all join in wishing Mark continued success at Leeds, and look forward to hearing from him via the blogs.

Chris.

Signing Off..................

2008-12-11T22:41:00.006Z

Hello All,

I'm sad to say that it's time to hand over the reins of the Salford University Centre for Heritage Studies blog to new blood...(I'm thinking of you Chris!)....as I'm unfortunately off to new pastures...as part of the trans Pennine brain-drain, and taking up a post at the University of Leeds (watch out for the imminent arrival of the Leeds Uni Museum Studies Blog on the www). So anyway, I do hope that you will continue to drop into the Salford Blog and keep up with the happenings heritage-wise.

Thank you to all the Salford students....and keeeeeeep-blogging (I hate 'Strictly' actually)

Merry Christmas!

Mark...signing off......

Latest Student visit to London

2008-12-06T02:10:00.021Z

Hello Museums and Heritage people,

the blog has been very quiet recently - I know that you are all busy with assignments.....but I thought I'd show those students who couldn't make it to London the other week some of the interesting things we saw....including a visit to the new Saatchi Gallery, which is HUGE...

....but which I found to be an ambivalent space, energizing (in it's displays) but also curiously pedantic (in that it's displays are just yet another amphorous extension of a (the) contemporary art space).....maybe it's just me, but I find that the 'white cube' minimalism is becoming such a bore....anyway, what else is interesting about the new Saatchi is its location.....the former Duke of York's Headquarters in the King's Road....a very swish location in the heart of Chelsea.....it made me think about cultural regeneration (working in Salford I suppose its rather too obvious) and the links between the economy, social cohesion, and culture....I was thinking that Saatchi lost an opportunity here (and took the safe option maybe?) to regenerate an area of London by locating his gallery in some other, less prestigious, place.....but maybe Saatchi (being an ex-ad-man/media guru) knows his 'brand' , which, always being 'new', and therefore not yet thoroughly legitimized, requires this discrete audience?......

Anyway, I did like some of the new Chinese Artworks that Saatchi is currently promoting, and I know that many of the students were also intrigued....

....this work, by Liu Wei, called 'Love It! Bite It!', made of edible dog chews, was a model of all the 'tastiest' bits in the history of architecture.....it's a bit of a Two Ronnie's kinda joke I suppose....a slightly clever but ultimately poor visual pun, rather like the play-on-words the Ronnie's were famous for (the 'Four Candles' joke being their most well-known example)....

...and there were many other artworks and installations in the 13 galleries in the Saatchi....but what struck me was the sheer scale of many of the artworks...these were not objects for domestic spaces (even those that a Saatchi or a Roman Abramovic could afford...)...this is art for 'public' gallery spaces....and maybe draws attention to the public-facing (philanthropic) nature of much contemporary art collecting...and by extension, of course, much of contemporary art practice.....?
Anyway, in good salford university heritage studies centre style, me and students also trekked merrily across London taking in our usual wide range of museums and heritage.....Sir John Soane's Museum; the V&A; the Natural History Museum; The Churchill War Rooms; the National Portrait Gallery; and a look around Covent Garden...we even took in an auction at Christie's South Kensington!...............

see you all later,
Mark

Street Art

2008-10-27T16:13:00.003Z

Hi guys,

Someone just sent me this link (click on the title - hopefully I've done it right and there should be a link there!!) , thought I'd like it and I did so thought everyone else might like to see it.
I love street art, imagine walking past one of these things and having a giraffe appear next to you out of nowhere!!
Take a look!

Erica.

Whitworth Gallery visit

2008-10-26T20:39:00.003Z

Last Wednesday the Museums group visited the Whitworth Gallery in Manchester and were treated to an illuminating tour of the galleries and textiles study room led by Anne French, who certainly 'knew her onions'. Mark was treated to the sight of a Socialist workers banner but the group did look a bit tired by the end of the day.

Sore feet!

2008-10-24T07:49:00.004+01:00

Well my feet (and brain) were sore by the time I got home last night... plenty to think about from Leeds yesterday for all of you/us - lots of examples of all the things you've been having lectures and classes about and further ideas for placement, dissertations and careers.

I've been thinking a lot about the histories that don't get recorded - or perhaps more relevant now, aren't on the internet in any form. There was a lot of radical activity in Leeds in the 60s, 70s and 80s - student occupations, huge equal pay strikes, second wave women's movement activity, radical newspapers and journalism, gay campaigning, Rock against Racism, as well as campaigns opposing developments in the city centre and surrounding areas ... and the largest West Indian Carnival outside Notting Hill, still going. Where are they recorded - commemorated, celebrated?

In Manchester, Urbis does some city centre tours which include a suffragette theme and a radical history theme but i could find no trace as I went round Leeds yesterday apart from the one in my head which brings me one to the idea of memory..... and lots more contentious issues.

I look forward to some of your thoughts on this - and just how many of you HAD heard of Greenham Common? I'm curious to know.

Have a great weekend all of you.

Angharad

Braille in Museums II

2008-10-10T12:27:00.003+01:00

Hello All,
Kostas (our friend at Manchester University Museology) has very kindly drawn our attention to this interesting website on art and accessibility...take a look.
http://www.artbeyondsight.org/

Thanks Kostas!

see you later
Mark

Braille in Museums

2008-10-10T07:04:00.004+01:00

Hello there Carice...

thank you for another stimulating entry...and you do raise highly significant issues in relation to the ways in which 'Art' is interpreted within the gallery. It may seem quite strange to some visitors that Salford Art Gallery has placed braille labels on their 19th century sculptures, but it's also a really interesting development. Indeed, we could view the appearance of braille (there's my one and only punning sentence in this entry... I promise) as a gesture towards inclusivity (a political act), which it most certainly appears to be, and I'd be interested to hear eveyone's thoughts on this?....

But we should also acknowledge that the feeling of strangeness at the seemingly wierd idea that an art work needs to be 'seen' is part of the framework of what counts as 'art' (as both a practice and an idea), i.e. that it is conventionally figured through the 'optic'.....There's a long, long story here, one that takes in the central role that sight has played in the conceptual frameworks of artistic production (certainly since the Renaissance anyway)....And if we have inclination we could also push the conceptual frame into phenomenology and aesthetics, (and what counts for 'seeing') - (there's a really interesting text here if your interested - Derrida's Memoirs of the Blind (1993)....Derrida suggests that 'Art' (painting/drawing) is in effect 'Blind'....I'll let you read it....but anyway, to return to my (your) point, it seems obvious to me that sculpture is an (initially) appropriate medium for haptic (touch) interpretation (and we should note that Salford have coated their sculptures with a special coating to allow this...but is'nt one of the pleasures of touching marble it's coldness and micro-crystal surface...or is that just me?)...and I would certainly agree that all senses are (can be) agitated in the art gallery space and they need not be reduced to the optic....indeed is'nt an audio-guide a kind of 'braille' for the sighted?

Mark

I have got to proof read work

2008-10-09T21:42:00.002+01:00

I should realy learn how to spell museum!
(I'm you're free proof reader!...but don't worry...intention-understanding is the main point of language) Mark

Braille in Museums debate

2008-10-09T21:22:00.003+01:00

Hello everyone,

I know I'm not posting a blog in relation to an exhibition visited etc but I am really curious to know your opinions on the subject of braille in museums etc.

I was having an engaging conversation with a friend about disabled access in museums etc, when she raised the question " what would a person with visual impairment gain from visiting a museum?"

I have allways enjoyed museum visits as an atmospheric encounter, in which to stimulate my learning and engagement with art, history etc. I raised the debate that my enjoyment isnt just limited to one sensory response, wether visual or audio. So persons with visual impairments can still feel engaged with an exhibit on another level of learning.

The conversation was fairly long winded and didnt really come to a conclusion, so inturn i am asking for your views on this subject. I have also enclosed a link to a training course for museum and gallery workers to introduce them to this area, which I thought was quite interesting.

thanx everyone!

Do go to this!

2008-10-07T09:17:00.003+01:00

On the way back from London I went to get some good Yorkshire air at the West Yorkshire Sculpture Park, Bretton Hall.

There are some really interesting sculptures/installations there set in 18th century grounds - so there's lots to look at and think about. There's also a visitor centre and galleries - the current big exhibtion is Noguchi - don't miss it!

I really loved these 'hay bales' which turned out to be wire netting on closer inspection

Have a look at the web site.
http://www.ysp.co.uk/view.aspx?id=506

Placement opportunities if you live over that way?

Angharad

Angharad

Rothko in London

2008-10-07T09:09:00.003+01:00

I went to this major exhibtion of late Rothko's work and took my 5 year old grandson too. He enjoyed it a lot - after pestering to go to the shop a lot!
He liked thinking about how much paint would be needed for such large canvases and what they were painted on and so on... he also liked (we both did) being able to see the back of one of them.

Then on the way out we found the children's activities - drawing and so on - so spent an hour doing those. I do think a lot of them are too hard for the stated age group and also not planned very well. For instance, the coloured pencils we were given were not the right colours for the painting we were told to go and look at .... and the book was a bit big and floppy so a clip board would have been better - or am I being too fussy? Are these things tried out enough on guinea pigs? These are things you may like to try for placement perhaps?

When he got home he and his little brother did some big paintings on cardboard boxes. That was his idea, not mine!

Angharad

If you get the chance.........

2008-10-03T09:23:00.002+01:00

Hello everyone.

A couple of weeks ago, whilst wandering around sunny York, I came across an exhibition by Keiko Mukaide called "The Memory of Place". Its an interactive installation that invites the viewer in to relive their own memories of different places and times.

Check out the link and if anyone gets the chance then it is really worth a visit (especially if you are a little stressed)

have a good day!

http://www.yorkstmarys.org.uk/Page/Installation.aspx

COMING SOON - SLOW HERITAGE

2008-10-02T14:46:00.002+01:00

Experience the joy and satisfaction of "Slow Heritage".

Take time to really absorb the atmosphere, the interpretation, the design and artifacts.

The cafe and shop will still be there, so don't forget, "Slow Heritage" is the future.

WELCOME New Salford University Students

2008-10-02T09:00:00.003+01:00

Hello and Welcome to all the new Salford University students...you're all now invited to contribute to the Museums & Heritage Blog....let us know of any interesting developments in the museum & heritage world...

Mark

But is it Art?

2008-09-24T11:32:00.006+01:00

Thanks Hanneke, for that short, but illuminating, Blog entry. Your little film amusingly points towards a huge question - the, (by now), old chestnut 'But is it Art?...(and I know this is something that you have been obliquely addressing in your dissertation on 'Sound' in art museums)...(I'm looking forward to reading it)...
Anyway, your blog entry has spurred me to put a little film on here too, one that neatly laps over your subject matter too...

It's Martin Creed's 'Work No.850', still 'running' (a small punning gesture!) at Tate Britain......Your own little film directed attention to what constitutes 'art', and Work No.850 is art...(by some definitions anyway...i.e...it's status as art 'object' is conferrred upon it by it's presence in the institutional and disciplinary frameworks of 'art-hood' (i.e. it's in an 'Art Gallery' and has a presence in the discourses of art criticism)...but I suppose that still leaves a related and one could say hysterical (literally) question....is in any good?...(the retort may be, of course, it's not really up to us to decide!)

Mark

It's not funny, It's art

2008-09-19T20:46:00.005+01:00

I can't find the option to show the animation on the blog inmedeately, so please use this link:

It's not funny, it's art

Animation by: Job, Joris and Marieke

Great exhibition!

2008-09-19T19:22:00.000+01:00

Hello all,

Today I went to another exhibition!

This time I loved it!! There’s a new quilt gallery in York – it is the national headquarters of the Quilt Guild of the British Isles. The first exhibition is a carefully selected offering of historic and contemporary works and gives a great range of work.

Textile exhibitions are interesting because they attract huge audiences – the audience is mainly female and older – sometimes with husbands or friends - and they will travel miles for a show that they want to see.
(Remember that when you need to bring in numbers….).

The link to the gallery is

http://www.quiltmuseum.org.uk./

and the link to the exhibition itself is on that page.

There are many interesting debates about textiles, art, gender and status that have been debated since the Whitney – see my previous post – displayed historic quilts ‘as art’ in 1971. Think about it!

BTW the gallery is in an important historic building and has been very beautifully converted to a gallery space.

Angharad

Virtual Museums

2008-09-14T12:08:00.004+01:00

Hello All,
don't know if any of you noticed the report on MAV (Virtual Museum of Archaeology) on the news? It opened a few months ago, near the ancient Roman town of Herculaneum in southern Italy, and uses the latest computer technology to 'recreate' the ancient town, which was destroyed by volcanic eruption in the 1st century AD. Anyway, here is the link;
http://news.bbc.co.uk/1/hi/programmes/click_online/7610956.stm
complete with a short video extract.

It is a really interesting development I think, (whilst the use of technology is perhaps unsurprising in this context, it does have some new (to me) ways of interacting with the computer imagery; take a look at the video clip and see). And I'm pretty OK with the use of virtual technology to 'make the past appear'...history is by definition 'virtual' anyway.
However, the rationale underlying the development of this virtual museum (i.e. 'the protection of cultural heritage') is interesting, and I think raises some significant points that appear to be lost behind the smoke and mirrors of the interactives....just exactly who are we saving the cultural heritage for? And who will get access to the site in the future?...the rich and the well-connected? those with 'professional' interest (such as me and you as academics and students)?...I think this a debate that needs to be aired, don't you think?

Mark

I went to an exhibition

2008-09-08T21:50:00.003+01:00

Thought you would all like to know that I (Angharad) went to an exhibition during my long summer holiday... expedition ... I was in New York on a family visit, which is not the same as being there as a 'tourist' or on a working visit - both of which I have done - but there was an exhibition about Buckminster Fuller (who?) at the Whitney (Gallery of American Art full title I think). Anyway, he is one of my very favourite people - designer and visionary - radical, for the good of humanity sort of bloke - so you can imagine my disappointment to find that the exhibition was completely conventional - lots of text panels, lots of framed up diagrams, some models - some video clips - talking heads etc.

When are exhibition designers - and the rest - going to make these shows more interesting? How is it possible to make something dull out of something so interesting....

Possible solutions gratefully received,

Angharad

Bizarre Museum 'Spaces'

2008-07-24T15:42:00.004+01:00

I'm not sure if anyone saw Francesco's Mediterrean Voyage last night on BBC2 (if you didn't you should try finding it on BBC iPlayer, just for the very eccentric Francesco who combines being an awful and unatural presenter with an endearing likeabilty) but on his little voyage he was last night in Athens. Now when the Olympics were set in Athens in 2004 they attempted to modernise the city and introduce a subway system but everytime they dug up somewhere they kept coming across old historic pots and artefacts which are now displayed in the actual subway stations when you get off the trains. Unfortunatly I couldn't find the actual clip from the TV programme but here's a youtube clip of someone in one of the stations:

This made me think of Hooper-Greenhill attempting to explain what a museum is and how they can be found in any sort of building.

One of the most interesting places I've visited would have to be an old Air raid bunker in Australia, (http://www.coffsharbour.nsw.gov.au/www/html/185-bunker-cartoon-gallery.asp) but what was different about it was that instead of housing objects involved with war or aircrafts it infact displayed a collection of political cartoons.

London Transport Museum vs The Wellcome Collection

2008-07-19T10:52:00.013+01:00

I was in London on Thursday, giving some lecture somewhere, so I thought I would pop into a couple of museums I've not yet seen but have been in the museum press lately - The London Transport Museum, and The Wellcome Collection. They have both recently re-opened after extensive revamps, but they actually provided interesting contrasts, so I thought I should bore you with some very brief observations.....

Anyway, the London Transport Museum http://www.ltmuseum.co.uk/ is a singing-ringing tree of a museum, all new whizzy interactives and interpretation. And it was quite full of people, despite the (I thought) rather steep entrance charge of £10 (well it would have been if I'd had to pay it - thanks my Museums Association membership I got in gratis). I rather liked the way that the museum displays take you on a journey (the metaphor must be a deliberate punning strategy on the part of the designers!) via a walkway through the social history of transport - I thought this was very well done. And linking the development of transport to the expansion of London itself was a very illuminating narrative.

It had lots of interactive exhibits, with touch-activated computer screens, (these worked perfectly), and other, more basic interactives, (obviously for children) where you turned a little handle (they were quite stiff so maybe they were for 'Child of Schwarzenegger') to reveal the answer to a question (they seemed to be quite a lot of work (and were probably very expensive) for such a momentary revelation...but that's kids for ya?)

The London Transport Museum is an archetypal 'engaging' museum, there's lots to see, and do, but it is blighted by that nemesis of new museum interpretation - broken interactives. Too often things didn't work, or were roped off with yellow and black tape like some gruesome murder scene...and I did notice that the biggest crowd of people were congregated around one of the museum staff, who was explaining the rudiments of the London Omnibus...there's nothing like people is there?.....we're social beings after all...and whilst interactives are useful, they all appear to end up singing Daisey Bell just like HAL in 2001 a Space Odyssey.

..........By contrast, The Wellcome Collection http://www.wellcomecollection.org/ was virtually empty, (just me and A.N.Other, but to be fair it was 5.30pm) and it's free...what's going on there? But, anyway, the 'Medicine Man' exhibition displays just ooze quality, with their exotic timber veneered cupboards. It is actually a beautifully arranged display, and unlike the London Transport Museum, not an interactive in sight (actually, there were half a dozen, secreted away in the posh little draws - and they were interesting, providing three different audio narratives, giving three different interpretations of an object).....
This is not to say of course that the museum is
not 'engaging', it just appears to want to engage its audience in a different way. At the Wellcome, it's all about the objects, and boy are they fascinating! They hark back to cabinets of curiosities - a piece of Skin from the early 19th century philosopher Jeremy Bentham; Sioux Indian amulets; ancient votive offerings; false noses in ivory and silver; Napoleon's toothbrush...all beautifully displayed, with the minimal amount of information. This is a very traditional display, one that allows speculation, wonderment and imagination to be part of a seemingly unstructured dialogue between the visitor and the objects....I quite liked that.

Actually, I liked both museums and next time me and students are down in London I'll certainly make sure we take a look at them....maybe we should go to the new exhibition opening at the Wellcome later this month?.....'Skeletons: London's Buried Bones' - looks good...and raises all sorts of issues!

Mark

The British Museum in the Media.

2008-07-05T15:53:00.003+01:00

Its been a good week for the British Museum with the news that it has now become the most visited cultural attraction in Britain, being covered in most major broadsheet newspapers. This is the article I read in the Guardian:

http://arts.guardian.co.uk/art/design/story/0,,2288360,00.html

While searching for the above article on the Guardian website I also came across this article/blog by Jonathan Jones on the success of the British Museum in which he raises some interesting points which as Museum and Heritage students keep cropping up in our studies.

http://www.guardian.co.uk/commentisfree/2008/jul/02/museums

I'll let you read it, but the point which interests me is the argument that history should be allowed to speak for itself. Jones argues that the British Museums recent success is based on it resorting to the 'language of populism' by attempting to make their exhibits relevant to the modern world and he suggests this approach does not fit with the subtle pleasures which one gains from museums. But while this 'crude' approach to history is not to everyones tastes, the success of the British Museum in the last year would suggest that this is a route worth taking for any museums and art galleries looking for an increase in its visitor numbers, and again returns us to the argument of the role museums have in our society in modern Britain.

Photo-Memory

2008-06-20T09:45:00.013+01:00

Hello All,
the blog has seemed rather dormant since Chris' thought-provoking entry (see previous blogging below), so I thought I should trail my fingers through the still waters......Anyway Chris raised some interesting points in his reflections on his past. And despite his suggestions that he did not wish to 'enter into an in-depth comment on the social, cultural or semiotic analysis of the images', I thought he did a pretty good job of doing just that! Indeed, his commentary, implicitly at least, sketched out a complex theoretical terrain of signification, through semiotics and hermenutics.
But perhaps one of the most intriguing aspects is the Janus-like position, of not-saying, but saying, that Chris adopts in his blog entry? This seems to point towards the conventionally articulated theory-practice divide...(so conventional I almost bore myself with it...no doubt I bore my colleagues even more!) - But I don't think that by denying a space for the language of critical theory precludes a writer from actually undertaking such a process (as Chris has clearly demonstrated).......But anyway, aside from that petulant ripple of the waters, Chris' blog entry sets up some very interesting connections which appear (to me anyway) to be particularly salient in relation to the ways in which 'Heritage' is presently articulated. For example, I've often thought that along side the atomisation of 'society' (if we agree that 'society' ever existed in that sense of course?) is also a move towards more collectively articulated processes of heritage. We can see this particularly through the significance of personal 'history' - you just need to notice the explosion of 'family history' sites on the web - (and Chris' reflections here)...Indeed, maybe we should have a 'heritage studies wall of fame' (or should it be infamy) with photographs of 'memories'...it could be a resource for students?

But anyway, and finally (you just knew the END was coming) Chris' reflections on the personal photograph and how this enacts memory positions the self at the centre of such an act of reflection; and indeed there is, one could say a kind of 'inevitability' in a photograph, in that it signifies an END - this is confirmed by Barthes, who has something quite interesting to say about photographs of oneself; Barthes writes that being a photograph of you, it 'becomes a Total Image, which is to say, Death in person'. Now there's a thought?

Mark
(Notice I've not put any photos of me here.....)

Snapshots, memories and time.

2008-05-30T09:11:00.011+01:00

Photographs. Memories. Time.

Recently asked by my parents to scan a number of family photographs (some from 35mm slides, others from prints), I have been considering my reaction to them, and how time has influenced memories prompted by them.

The photographs are snapshots. Amateur, grabbed, and recording occasions, they cover a variety of events over the years 1960-1969. As a family we recall the events, but in different ways, and with a variety of reactions and intensity of emotion.

A number of the images are presented below. I have added a short caption/comment with each. These reflect my memory and interpretation of the events originally recorded some 40 years ago.

The purpose of this blog entry is not to enter into an in-depth comment on the social, cultural or semiotic analysis of the images, but to consider the impact of memory. Personal or collective. Those at the time (recalled today), and those of 2008.

Photographs are a catalyst, often permeating a collective domino effect on memory through our lives. Our cultural reaction, understanding, and relationship to our current lives, are diverse. My memories have been influenced by time, cultural changes, and how I see myself now in relation to the images of the time, and by the cultural influences of the years up

to 2008.

An independent observer of the images will bring their own views, following trends, fashion, art and experiences. The "fashion", cultural references, and recycling of the period have an impact on how the images are seen in 2008. How the styles of clothing are interpreted, re-interpreted and fed back to us by television, magazines, film, and the fashion industry, may affect how you as an independent observer, react to the images below.

The images have not been modified. They are full frame. The colours are as originally scanned. My comments are personal reflections. Your reflections on the nature of the image, photography and memories are welcome. In responding, perhaps an image from your own life, with comment, may add to the collective memory.

Chris.

The annual visit to Santa's Grotto in Lewis's Birmingham

department store was a highlight. The queue for a few minutes with Santa stretched down four floors of the storesstaircase, and out the front of the store.

The visit was always a family day out. Christmas always being a special time for family, and the annual celebrations and get togethers continue today, now with three generations of the family. Duffel coats were worn. In the 1960s the clean air acts had not become fully enforced, and the Midlands still suffered with cold damp winters, thick fogs, and very heavy snowfalls.

My Grandparents. Sadly, none of them with us anymore.

They were instrumental in the Christmas family celebrations. Traditional meals of turkey and the trimmings, evening buffets, and the

decoration of houses and trees became the tradition.

All born in the early 1900's, they lived through two wars,

were part of large families (many of whom died in infancy), the oldest two living well into their 90's. Perhaps an indication of what we could expect of our life spans today within the family?

My first camera was a gift from my parents. I was about 7 years old. The camera was black plastic, with a small thick plastic lens. It had a logo on which reflected its Russian origin.

All the photos has a slightly fisheye effect, lens flare, and I only use black and white film in it.

Recently, I have returned to using basic cameras, experimenting with Lomo cameras.

Again, the family. The family home is still in the same place as it became in 1961. Not a large house, but big enough for a family. A long garden, with vegetable plot at the end of it. Runner beans, tomatoes, and many other salad and vegetable plants supplemented the shop bought throughout the difficulties of the 1970's. This week, the ground is still full of small plants for this years crops, and the greenhouse is full of tomato plants and cucumbers climbing canes.

I had not realized before looking at this photo, just how much of the colour yellow was in the garden. Golden wand flowers, the privet, and other flowers packed the beds. The garden was a place of play, and imagination. Today the garden is still a focal point for three generations of the family.

Manchester Museum Cover-up

2008-05-24T12:15:00.007+01:00

Hello All,

Debra Leighton, one of my Heritage Cluster colleagues, has drawn my attention to the goings-on at Manchester Museum this week....the big 'Cover-up' of the Egyptian Mummies. Manchester Museum has responded to some feedback from the public concerned at the display of unwrapped mummies. The story has been aired in the local and national media over the last few days and Nick Merriman, Director of the Museum, has stressed that the museum is only 'trying to follow Government guidelines about how they (the mummies) should be displayed with respect and sensitivity'.................here's a link to the story.....

http://news.bbc.co.uk/1/hi/england/manchester/7415199.stm

Those students who undertook the Collections Management module on the Arts and Museum Management programme will remember the complexity of the debates, invloving as they do distinct philosophical, socio-cultural, political and indeed ideological positions, but it seems to me that there is at least some contradiction in the Manchester Museum position - Lindow Man is on display in adjacents rooms to the Egyptian Mummies, and is also 'technically' unwrapped (or at least dug up)...is this any more a 'respectful' display?

FYI here is a Link to the BBC news report on the return of Lindow Man (it has a little video about the discovery and has a couple of interviews with Nick Merriman and Brian Sytch....the students will remember the excellent debate we had with Brian in the committee room at Manchester Museum last semester). http://news.bbc.co.uk/2/hi/uk_news/england/7355642.stm

So....do you think that the Manchester Museum is being a little inconsistent?

Mark

Museums - Fun vs Education.....

2008-05-20T14:45:00.005+01:00

My American Friend (that sounds like it should be a novel....it's not is it?)...Hi Jules!... has raised an interesting point in her comment on my 'Do Museums Matter?' reflections...(see comments at the end of the thing). Dr Jules...shown here a couple of weeks ago in York of all places....(that's anglophilia for ya!)... suggests that museums should be about 'pleasure' rather than that hard-nosed thing 'education', and maybe she is right...for pure pleasure, if we refer to the philosopher Immanuel Kant, stems from 'disinterestedness' (i.e. pleasure is based on the pure 'joy' of deploying your imagination, and not based on a realisation of the morality, utility or purpose of things)...and therefore, it seems to me, to place didacticism at the heart of the purpose of the museum subverts 'pure pleasure' (See Kant's 'Critique of Judgement' (1790)...for more on this).....but anyway...maybe there is only way to reslove the issue of whether 'pleasure' or 'education' are what museums are for.......FIGHT!...(those of you that watch Harry Hill will get this (poor) joke!)

what do you think?

Mark

Bradford Part 2 - Saltaire

2008-05-18T15:54:00.006+01:00

As my travelling companion Jenny has so eloquently described we recently had a day trip to Bradford. As well as visiting the National Media Museum in Bradford itself we also took a short train ride out to the village of Saltaire.

Saltaire is an purpose built Victorian village. It was built in the 19th Century by a Victorian philanthropist called sir Titus Salt. The aim was to create a living space for his mill workers which were opposed to living conditions of those who worked in the mills in Manchester, Leeds and Bradford itself, which were often cramped, unkept and ugly.

The village is now a protected UNESCO Heritage site and while the terraced houses are still lived in, the mill itself is now used as a gallery for the work of David Hockney.

The inside of the gallery itself is far removed from the village, a huge room is filled with the painters collection while music which wouldn't sound out of place in a Disney film accompanies you round as you look at the paintings. The galleries shop is not seperate from the gallery, and is in fact part of the space with many of the items you can purchase being art equipment and books seemingly there to inspire you to paint too. Upon entering the gallery I was somewhat dissapointed, one room seemed quite a small space, but after a few minutes the mood of the gallery and the relaxed atmosphere won me over.

The other main notable feature of the village was its impressive church.

The village of Saltaire is well worth a visit if you are interested in Britains industrial heritage, offering a unique perspective on the relationship between a mill owner and his workers. For me the only draw back was the lack of a tourist information place, as the one they did have is now closed. As a result it was difficult to find out the history of many of the buildings you passed as you walked around, a downloadable heritage trail or the odd interpretive panel would be of great help to any visitors.

Do Museums Matter?

2008-05-17T07:28:00.011+01:00

Me and some of the students went to Urbis yesterday afternoon, http://www.urbis.org.uk/
to the 'Do Museums Matter?' debate...well done to those students that managed to make it given that the debate took place right in the middle of essay writing time! The 'Do Museums Matter?' debate was organised by Renaissance North West as part of Museums and Galleries Month under a theme entitled 'Ideas and Innovations' see - http://www.24hourmuseum.org.uk/
The debate at Urbis was chaired by Jennifer Latto (Chair of HLF North West) and included Nick Merriman of Manchester Museum, David Wilson of the Wordworth Trust, Vaughan Allen from Urbis and the artist Lubaina Himid......it made for quite a stimulating discussion, and several interesting points were aired...although it was, I think, a little short on time, and at times it felt a bit like a box-ticking exercise (the broader issue of which was itself a theme arising from questions directed by the audience...indeed it appeared to be a persistent rumble throughout the whole audience...or was that my stomach?)....However, I was interested to hear that a number of points were raised about the role and identity of the 'curator'...this was especially pertinent given my recent participation in the Museums Association Event at York last week - 'Managing Collections-related Knowledge', - which pointed towards the (apparent) return to the museum Object, - this is perhaps not quite an about-face, but it certainly seems to me anyway that the outward facing museum and the visitor-focused rhetoric (and it often is rhetoric) over the last few years is being reformulated...but anyway, the Urbis debate was stimulating, although given the issues raised by the debate I do think that the museum is often saddled with too heavy a burden.....but then perhaps thats only fair, the museum after-all has been, and remains, rather too significant a 'thing' to allow it to escape such intense scrutiny.

So...Do Museums Matter?...well if I can borrow a phrase fom my Faber book of quotations...they certainly do for some of the people all of the time....and they probably do for all of the people some of the time...but I doubt that they ever will matter for all of the people all of the time....and maybe that's the problem at the heart of the anxious navel-gazing that museums have been subjecting themselves to over the last few years...for example, there is often anxiety over the problematic role of the 'expert' (which appears to be somewhat of a paradox at present, in that it is deemed to be a contentious issue when the notion of the 'curator' is discussed, but is happily celebrated in other areas, such as in any business-related commercial activities through the notion of the 'consultant') - and the museum also wrestles with other aspects such as the 'inclusivity agenda'........but the de-centering of such naturalised notions, it seems to me, are part of what it is to exist within a 'post-post-modern' society, and maybe museums should just stop beating themsleves up about it so much?

Mark

The Chip Museum...Bruges.

2008-05-10T21:36:00.005+01:00

Remember our visit to Bruges?...and the rather strange Chocolate Museum....well the Belgians are trying to corner the market in curious museums (not in the rich sense that Stephen Bann has so eruditely written about...alas...) and have now opened a 'Chip Museum' (yes, it is exactly what you think)....am I missing something here?....Bruges now has a Chocolate Museum, (maybe Hanneke, Polly & Kelly could comment on this one?), a Light Bulb Museum (I've not been...) and now a Chip Museum (I don't want to go).....I acknowledge the premise underlying the Chip Museum, and it actually makes perfect sense if you think about it in relation to Michel du Certeau and the rich vein of meaning for the everyday....but I don't think I'll be going there soon......here's the link just to demonstrate that it is TRUE!
http://frietmuseum.be/en/homeeng.htm

Comments?

Mark

National Media Museum

2008-05-09T16:25:00.005+01:00

Hello!

Well....went to Bradford the other day and it's actually quite nice...well parts of it are anyway!!

The highlight for me was the National Media Museum as it's particularly fabulous for those of us who like to play on interactives! I had a go at being a newsreader (which Andrew will tell you I am a complete natural at!!!....) and I could have played about with a blue screen if a small child and her pushy mother weren't hogging it! Oh well....one day....

(Here's a Link - Ed.) http://www.nationalmediamuseum.org.uk/

Although alot of it was all very wizzy and lalala there was also quite a good photography exhibition based on the archive of the Daily Herald. It was still quite light hearted but I liked the exhibition space and it was interesting...I thought so anyway!

Jenny

Contemporary-Heritage (if that's not an oxymoron)

2008-05-08T19:27:00.006+01:00

One of my MA students from my past emailed me today....from my former life as tutor on the MA Art Gallery & Museum Studies at the University of Leeds....Gillian Howard (soon to be mrs.......congratulations!) has developed themes from her MA dissertation (which I had the pleasure to supervise) into a really interesting article on contemporary curating (here is the link:
http://www.axisweb.org/dlFull.aspx?ESSAYID=122
I draw your attention to this, not just because 'the Contemporary' is often overlooked when 'Heritage' puts its head above the parapet, but also to remind my current Salford MA students, (given that it's 'dissertation time') of the potential for their own research projects.
Besides Gillian's excellent piece, there are many thought-provoking articles on the online AXIS journal...why don't you take a look (they're not paying me for this btw)

Mark

War museum

2008-05-06T09:44:00.003+01:00

Morning all, I was catching up with the news and found this piece on a museum just opened in France - thought it would be of interest particularly to those of us who were in Flanders Fields.

It's very sad as you might expect.
There are some other WW1 links on the page too.

http://news.bbc.co.uk/1/hi/world/europe/7384227.stm

Best

Angharad

NOT museums and galleries

2008-04-30T08:19:00.005+01:00

Some thoughts from rural parts... from Angharad

Last Saturday I walked from Edale in Derbyshire to Marple which used to be in Cheshire... perhaps it's in Greater Manchester now? 18miles if you're wondering.

Edale is the start of the Pennine Way which was the first of the long distance paths in the UK - it is marked by a sign on a pub wall saying 'Edale, start of the Pennine Wa ' (the y has gone) and I forgot to take a photo... however, this place is iconic for the walking community but you would not know when you're there!

We went through some National Trust farms - here's a picture of a tasteful barn conversion - from byre to interpretation centre....

We went right along the edge of the Kinder Plateau which again, is an iconic place for walkers as it was the site of the Kinder Trespass in the 1930s. The whole area was out of bounds to 'ordinary' people .... anyway, I think there might be a small plaque somewhere but apart from that you wouldn't know anything about it when you're up there.

So how should we interpret places like that - and how do you interpret a landscape - unless it's this sort of thing at the boundary?

London Visit

2008-04-27T10:17:00.014+01:00

Our London visit went well (I think), me and the MA students saw lots of museums and galleries; I'll name them (for the benefit of those students who couldn't make it (and for 'Polly').......) -
We went to The Victoria and Albert Museum http://www.vam.ac.uk/ - here are the Glass Galleries.

Sir John Soane's Museum http://www.soane.org/ - definately one of my favourite museums. Indeed, I think I'm turning into a Soanian collector....I even have my own version of Soane's little dog (called Fanny)....

(image copyright of Soane Museum)
My own version, called DD (or Dead Dog as he is affectionately known) also lords it over my assemblage of Ebay tat!
Guildhall Art Gallery http://www.cityoflondon.gov.uk/Corporation/leisure_heritage/libraries_archives_museums_galleries/guildhall_art_gallery/ Mainly to see the Roman Ampitheatre (that's what its called 'Polly').
And the Museum of London http://www.museumoflondon.org.uk/English/ unfortunately (for us anyway) undergoing a major revamp of the early modern and modern history galleries.

We also went to The Cabinet War Rooms and Churchill Museum -
http://cwr.iwm.org.uk/?PHPSESSID=e96651e1442dc011c5bd8a90ded835b5
And finally (after a well earned beer) to the National Portrait Gallery -
http://www.npg.org.uk/live/index.asp
What did you think of them all?.....any comments?
Mark

London Visit

2008-04-26T12:56:00.004+01:00

Howdy all,

Back from London. Went to a whole load of museums, the Soane was ace! This fella really new how to fill a house full of stuff –the walls in one of the rooms opened (like big cupboard doors) with paintings on either side - was pretty funky! Another one we went to, had old ruins in the bottom, cant remember the name of it, but it’s the place where Romans went to cheer people on who were getting beaten to death. But in that exhibition there were some neon gladiator type chaps, looked like a cross between Tomorrow’s World and the film set off Life of Brian, but still really interesting. (Here is a pic...Ed.)

Other museums we went to were Museum of London (full of stuff from/about London – surprisingly!), the one about Winston Churchill – this I would recommend to go to, as you got to walk around where they ran the country from during the war (loads of really big maps and three different coloured telephones!), think the last one was the National Portrait Gallery – many faces.

Really good visit to London, and it didn’t rain!
Pauline

We're in!

2008-04-24T13:41:00.003+01:00

Hi Mark,

We've finally made it to the blog. Took us ages, or, to be precise, it took Kirstin ages to get an account. (Stupid germans!) But well, we're here. We must say your picture is fab. To free you out of isolation, we've decided to put ours up as well. (Might take ages again)

We're of to bed now, to prepare us for our epic journey, starting tomorrow at 5-ish.

Kirstin & Hanneke

Museum Exhibitions in Manchester

2008-04-20T09:11:00.019+01:00

I was invited to the preview of the new exhibiton at Manchester Museum on Friday 18th April, the 'Lindow Man' exhibition, (in my professional capacity of course!). Lindow Man, (or 'Pete Marsh' as he is affectionately known in some parts), returns 'home' (he's local a man, from 'Withenshaw' - although I don't think it was called Withenshaw back then). He's on loan from the British Museum until next April.
http://www.museum.manchester.ac.uk/whatson/exhibitions/lindowman/
The preview was packed affair, with 'Meet the Ancestors' Julian Richards opening the show.

The exhibition itself was a curious spectacle; I liked the way the curators had constructed overlapping narratives from the perspectives of those individuals that were involved in the discovery of Lindow Man, very refreshing, but the design of exhibition was most peculiar. The aesthetic appeared to echo some rather dodgy student digs...or some unfinished DIY project constructed with chipboard remnants from B&Q. I initially thought that the 'preview' was a particularly precise definition and we had been granted privileged access to the exhibition whilst it was still at the planning stage. But there must be a rationale for the horizontal multicoloured boxed panels of chipboard, with their exposed edges (someone's gonna snag their cashmere cardigan on those edges..mark me) but if there was it was all rather too subtle. That said, the 'Return of the Native' raises some interesting issues of appropriate location and stewardship....I'll leave that up to you....
Lindow Man himself was a little lost amongst the display...he appeared as you turned a corner, in a darkened glass box - I almost missed him! (the glass box is for reasons of preservation no doubt...but there is an interesting sublime aesthetic here too).

I thought a useful foil to my impending evening visit to the Lindow Man show would be a visit to the Body Works exhibition ongoing at Manchester Museum of Science and Industry. http://www.mosi.org.uk/whats-on//body-worlds-4 so I wandered down to MOSI to join the queue on Friday afternoon. I understand that Body Works is outperforming the hugely popular Dr Who exhibition, which has only just closed, in the number of visitors...perhaps not surprising, given that Body Works has attracted over 22 million 'voyeurs' worldwide since the show opened in 1995 - clear evidence of the return of 'curiosity' as part of the cultural framework in the consumption of contemporary exhibitions...(as Stephen Bann has suggested!)
The Bodies themselves are indeed very curious, articulated as Footballers, Cardplayers, and a Roger Cormanesque nod towards the macabre.....perhaps unsurprisingly the aesthetic of the plastinated bodies is shaped (sorry about the pun) by contemporary visual culture, just as Andreas Vesalius' illustrations were in the 16th century .

But I was not expecting that the plastination process would leave the bodies so...so..'plasticy'......I've decided not to leave my sylph-like frame to Dr von Hagens..

Me and the students (some of them anyway) are off to London this friday....more to come.

Mark