Putting museum studies to work

Davis, Joy

doi:10.1080/09647775.2011.621732

Cited by 7 publications

(5 citation statements)

References 22 publications

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“…If one combines this notion of organizational freedom with the assumption that we, as human beings, are the co‐creators of our lives and our organizations – the result is the powerful force called personal agency. By personal agency, we mean the capacity of individual museum workers, not just their leaders and managers, to take action in the world (Davis ). When museums empower the personal agency, or self‐leadership, of their workers and governing authorities to live their values and act in the interests of their communities, it builds engagement and community relevance (Grattan ).…”

Section: Assumptions About the Museum Worldmentioning

confidence: 99%

Museums Confront the Climate Challenge

Janes¹,

Grattan²

2019

Curator The Museum Journal

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Section: Assumptions About the Museum Worldmentioning

confidence: 99%

Museums Confront the Climate Challenge

Janes¹,

Grattan²

2019

Curator The Museum Journal

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“…Museum professionals have long noted the perceived barriers to the institutional changes needed to move museums from their historical role as institutions concerned with the collection and care of historic objects, to institutions concerned with the lives of their visitors and their role in the betterment of society. Despite such institutional barriers, we believe that it is ultimately the role of the individual to bring about change (see for example Davis 2011;.…”

Section: Understanding An Ethos Of Practicementioning

confidence: 99%

Museum Activism

Janes¹,

Sandell²

2019

140

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Only a decade ago, the notion that museums, galleries and heritage organisations might engage in activist practice, with explicit intent to act upon inequalities, injustices and environmental crises, was met with scepticism and often derision. Seeking to purposefully bring about social change was viewed by many within and beyond the museum community as inappropriately political and antithetical to fundamental professional values. Today, although the idea remains controversial, the way we think about the roles and responsibilities of museums as knowledgebased, social institutions is changing. Museum Activism examines the increasing significance of this activist trend in thinking and practice.At this crucial time in the evolution of museum thinking and practice, this ground-breaking volume brings together more than fifty contributors working across six continents to explore, analyse and critically reflect upon the museum's relationship to activism. Including contributions from practitioners, artists, activists and researchers, this wide-ranging examination of new and divergent expressions of the inherent power of museums as forces for good, and as activists in civil society, aims to encourage further experimentation and enrich the debate in this nascent and uncertain field of museum practice.Museum Activism elucidates the largely untapped potential for museums as key intellectual and civic resources to address inequalities, injustice and environmental challenges. This makes the book essential reading for scholars and students of museum and heritage studies, gallery studies, arts and heritage management, and politics. It will be a source of inspiration to museum practitioners and museum leaders around the globe.

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“…teaching, nursing, engineering, social work), one of the major pedagogic challenges for such courses is to reconcile and in a way deconstruct in actu the theory/practice binary (Davis, 2011;Dubuc, 2011;Macleod, 2001;Mason, 2006;Teather, 1991), in an attempt to marry together what Ryle identifies as the two incommensurate modes of knowing: knowing-that and knowing-how (Ryle, 1949(Ryle, /2009. Many museum studies courses seek to address this challenge through incorporating a work-based learning component and 'workplace immersion' (Dubuc, 2011, p. 499) within the courses in the form of accredited placements and internships as well as partnerships with museums in the design and delivery of the courses (Carter et al, 2011;Davis, 2011;Dubuc, 2011;Welsh, 2013). There have been variable degrees of success in achieving some integration of the two modes of knowledge, with '[t]he dilemmas surrounding theory and practice,' as Dubuc (2011, p. 500) notes, still 'unresolved.'…”

Section: Museographic Bricolage and Durationmentioning

confidence: 99%

Encountering the Creative Museum: Museographic creativeness and thebricolageof time materials

Tlili

2015

Educational Philosophy and Theory

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The aim of this article is to trace some lines of thinking towards a conceptualization of the uniqueness of the creative work of museums, the mode of creativeness that belongs exclusively to museums, or at least that museums are capable of by virtue of the types of materials and forms as well as activities unique to what will be referred to as museography. This is linked to the question of what it is that constitutes the uniqueness of museum work as a professional field. The article characterizes the uniqueness of museum professional knowledge primarily in terms of a mode of creativeness, or bricolage in Levi-Strauss's sense, mediated through the museographic form, and applied to the chance assemblies of materials to generate museumspecific modes of engaging questions-across science, culture, and society-particularly through creating unique temporal arrangements, or durations, that provoke thought, learning, and engagement on museographic terms. Museography's originality, it is argued, consists in a bricolage that works through the museum's unique material and form to create learning resources and encounters, museographic assemblages that depart from a conception of linear time as the space of evolutionary narrative to facilitate the experience of Bergsonian durations.

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Putting museum studies to work

Cited by 7 publications

References 22 publications

Museums Confront the Climate Challenge

Museums Confront the Climate Challenge

Museum Activism

Encountering the Creative Museum: Museographic creativeness and thebricolageof time materials

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