‘The feeling of exclusion’: Young peoples' perceptions of art galleries

Mason, David; McCarthy, Conal

doi:10.1016/j.musmancur.2005.11.002

Cited by 38 publications

(42 citation statements)

References 38 publications

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“…Art, as a representation of culture, is therefore a “positional truth” connected to issues of history, power, and authority (Abu‐Lughod ). This positional truth has shifted throughout history, excluding the participation of not only people of color, but women (Guerilla Girls ), gays (Katz ), and youth (Mason and McCarthy ) as well. Jessica's African American students demonstrated an acknowledgement as well as an acceptance of this exclusionary experience and also the feelings of powerlessness to change it.…”

Section: Resultsmentioning

confidence: 99%

Curating Inequality: The Link between Cultural Reproduction and Race in the Visual Arts

Blackwood¹,

Purcell²

2014

Sociological Inquiry

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Although the U.S. population is becoming more racially and ethnically diverse, research indicates that minority participation in the arts continues to decline. This article addresses the racial disparity of public art museum attendance by examining the role of the art museum curator and the process by which concepts of race are reproduced within the space of the public art museum. Utilizing Bourdieu's theories of cultural reproduction, social space, and symbolic power as a preliminary framework of inquiry, we examine the concept of whiteness as privileged social construct. Through face-to-face indepth interviews with museum curators, we investigate the means by which the dominant cultural narrative of whiteness is maintained through the preferences, decisions, and social interactions of curators. We draw upon critical white studies, a part of critical race theory, to underline the manner in which whiteness presents itself as a position of dominance. Our findings show that whiteness is maintained through the process of exclusion by presenting the white cultural narrative as both ordinary and invisible.

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Section: Resultsmentioning

confidence: 99%

Curating Inequality: The Link between Cultural Reproduction and Race in the Visual Arts

Blackwood¹,

Purcell²

2014

Sociological Inquiry

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“…These remarks are consistent with comments recorded in other studies (c.f. Davies 2005;Hood 1983Hood , 1993Mason and McCarthy 2006;Prentice, Davies, and Beeho 1997), which serve to illustrate that users and non-users share certain perceptions of the purpose of 'museum' as a place for the storage and presentation of objects or information that is rare, old, or privileged. Frequent users appear to seek out those qualities through museums, while non-users do not draw meaningful connections between museums and themselves.…”

Section: Enculturation and Socializationmentioning

confidence: 99%

Cultural inclusion, exclusion and the formative roles of museums

Coffee

2008

Museum Management and Curatorship

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Very diverse cultural practices develop within sufficiently large polities, in response to, and contributing to, a matrix of social relationships. Museums play a formative role in defining and reproducing those relationships through their policies and narrative practices. As importantly, how museums are construed, who uses them, and how they use them, are also defined within this web of relationships. Discussions of audience inclusion and exclusion should thus be grounded in an analysis of the complex sociocultural roles that museums play, and specifically in regard to the user's search for shared narrative.

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“…It would be advantageous for museums to extend their recognition that audiences are differentiated to their delivery of tours (Mason and McCarthy, 2006). Moreover, if they were to recognise and reflect how good practice requires guides to structure their tours around these individuals, it is likely that they would reap the rewards.…”

Section: Discussionmentioning

confidence: 99%

“…Personalisation of tours could help to achieve this. Guided tours are often criticised for being boring and didactic by younger audiences, just as museums themselves are often perceived to be by the same group (Mason and McCarthy, 2006). This is in part likely to be because younger audiences have emerged from an education system which is more interactive and less didactic than the typical guided tour (Buehl, 2001).…”

Section: Discussionmentioning

confidence: 99%

Strategy in Practice: Re-Categorising Tour Guides as Strategists

Best

2011

AMPROC

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Tour guides are often believed to have an exceptionally simple role, leading an audience around a building and pointing artefacts out according to a script. However, this paper shows how their work pertains to organisational strategy in two significant ways; they can be seen to be acting in ways which reflect and reiterate the organisational strategy of audience engagement. Audience engagement is increasingly used as a criterion upon which museums are awarded funding and as such, guides deploy an organisation's strategic aims through their moment-by-moment actions as they try to engage such audiences. They must overcome significant obstacles and challenges which unfold over the course of the tour in order to engage the audience. In such light, in keeping with the 'workplace studies' turn in Strategyas-Practice (Samra-Fredericks, 2010), we can see them as strategic actors. Because of the lack of understanding of the work of guides, as well as an ongoing tendency to see strategy as something that only happens at the most senior of organisational levels, this paper has contributions to make in showing the truly skilled nature of the work of the guide and demonstrating how these skilled workers present an example of those engaged in a form of strategising whether they know it or not.

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‘The feeling of exclusion’: Young peoples' perceptions of art galleries

Cited by 38 publications

References 38 publications

Curating Inequality: The Link between Cultural Reproduction and Race in the Visual Arts

Curating Inequality: The Link between Cultural Reproduction and Race in the Visual Arts

Cultural inclusion, exclusion and the formative roles of museums

Strategy in Practice: Re-Categorising Tour Guides as Strategists

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