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class="vector-toc-numb">2</span> <span>Development of the field</span> </div> </a> <ul id="toc-Development_of_the_field-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Operational_museology" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#Operational_museology"> <div class="vector-toc-text"> <span class="vector-toc-numb">3</span> <span>Operational museology</span> </div> </a> <button aria-controls="toc-Operational_museology-sublist" class="cdx-button cdx-button--weight-quiet cdx-button--icon-only vector-toc-toggle"> <span class="vector-icon mw-ui-icon-wikimedia-expand"></span> <span>Toggle Operational museology subsection</span> </button> <ul id="toc-Operational_museology-sublist" class="vector-toc-list"> <li id="toc-Public_role_of_museums" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Public_role_of_museums"> <div class="vector-toc-text"> <span class="vector-toc-numb">3.1</span> <span>Public role of museums</span> </div> </a> <ul id="toc-Public_role_of_museums-sublist" class="vector-toc-list"> </ul> </li> </ul> </li> <li id="toc-Critical_museology" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#Critical_museology"> <div class="vector-toc-text"> <span class="vector-toc-numb">4</span> <span>Critical museology</span> </div> </a> <button aria-controls="toc-Critical_museology-sublist" class="cdx-button cdx-button--weight-quiet cdx-button--icon-only vector-toc-toggle"> <span class="vector-icon mw-ui-icon-wikimedia-expand"></span> <span>Toggle Critical museology subsection</span> </button> <ul id="toc-Critical_museology-sublist" class="vector-toc-list"> <li id="toc-Overview_of_the_field" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Overview_of_the_field"> <div class="vector-toc-text"> <span class="vector-toc-numb">4.1</span> <span>Overview of the field</span> </div> </a> <ul id="toc-Overview_of_the_field-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Development_of_the_field_2" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Development_of_the_field_2"> <div class="vector-toc-text"> <span class="vector-toc-numb">4.2</span> <span>Development of the field</span> </div> </a> <ul id="toc-Development_of_the_field_2-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Decolonizing_and_indigenizing_museums" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Decolonizing_and_indigenizing_museums"> <div class="vector-toc-text"> <span class="vector-toc-numb">4.3</span> <span>Decolonizing and indigenizing museums</span> </div> </a> <ul id="toc-Decolonizing_and_indigenizing_museums-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Feminist_critique_and_feminist_curating" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Feminist_critique_and_feminist_curating"> <div class="vector-toc-text"> <span class="vector-toc-numb">4.4</span> <span>Feminist critique and feminist curating</span> </div> </a> <ul id="toc-Feminist_critique_and_feminist_curating-sublist" class="vector-toc-list"> </ul> </li> </ul> </li> <li id="toc-New_methodologies" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#New_methodologies"> <div class="vector-toc-text"> <span class="vector-toc-numb">5</span> <span>New methodologies</span> </div> </a> <button aria-controls="toc-New_methodologies-sublist" class="cdx-button cdx-button--weight-quiet cdx-button--icon-only vector-toc-toggle"> <span class="vector-icon mw-ui-icon-wikimedia-expand"></span> <span>Toggle New methodologies subsection</span> </button> <ul id="toc-New_methodologies-sublist" class="vector-toc-list"> <li id="toc-Vienna_Method" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Vienna_Method"> <div class="vector-toc-text"> <span class="vector-toc-numb">5.1</span> <span>Vienna Method</span> </div> </a> <ul id="toc-Vienna_Method-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Museum_interventions" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Museum_interventions"> <div class="vector-toc-text"> <span class="vector-toc-numb">5.2</span> <span>Museum interventions</span> </div> </a> <ul id="toc-Museum_interventions-sublist" class="vector-toc-list"> <li id="toc-Artist_interventions" class="vector-toc-list-item vector-toc-level-3"> <a class="vector-toc-link" href="#Artist_interventions"> <div class="vector-toc-text"> <span class="vector-toc-numb">5.2.1</span> <span>Artist interventions</span> </div> </a> <ul id="toc-Artist_interventions-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Activist_interventions" class="vector-toc-list-item vector-toc-level-3"> <a class="vector-toc-link" href="#Activist_interventions"> <div class="vector-toc-text"> <span class="vector-toc-numb">5.2.2</span> <span>Activist interventions</span> </div> </a> <ul id="toc-Activist_interventions-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Internal_institutional_interventions" class="vector-toc-list-item vector-toc-level-3"> <a class="vector-toc-link" href="#Internal_institutional_interventions"> <div class="vector-toc-text"> <span class="vector-toc-numb">5.2.3</span> <span>Internal institutional interventions</span> </div> </a> <ul id="toc-Internal_institutional_interventions-sublist" class="vector-toc-list"> </ul> </li> </ul> </li> <li id="toc-Curatorial_dreaming" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Curatorial_dreaming"> <div class="vector-toc-text"> <span class="vector-toc-numb">5.3</span> <span>Curatorial dreaming</span> </div> </a> <ul id="toc-Curatorial_dreaming-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Curating_workshops,_courses_and_labs" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Curating_workshops,_courses_and_labs"> <div class="vector-toc-text"> <span class="vector-toc-numb">5.4</span> <span>Curating workshops, courses and labs</span> </div> </a> <ul id="toc-Curating_workshops,_courses_and_labs-sublist" class="vector-toc-list"> </ul> </li> </ul> </li> <li id="toc-See_also" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#See_also"> <div class="vector-toc-text"> <span class="vector-toc-numb">6</span> <span>See also</span> </div> </a> <ul id="toc-See_also-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-References" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#References"> <div class="vector-toc-text"> <span class="vector-toc-numb">7</span> <span>References</span> </div> </a> <ul id="toc-References-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Bibliography" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#Bibliography"> <div class="vector-toc-text"> <span class="vector-toc-numb">8</span> <span>Bibliography</span> </div> </a> <ul id="toc-Bibliography-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-External_links" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#External_links"> <div class="vector-toc-text"> <span class="vector-toc-numb">9</span> <span>External links</span> </div> </a> <ul id="toc-External_links-sublist" class="vector-toc-list"> </ul> </li> </ul> </div> </div> </nav> </div> </div> <div class="mw-content-container"> <main id="content" class="mw-body"> <header class="mw-body-header vector-page-titlebar"> <nav aria-label="Contents" class="vector-toc-landmark"> <div id="vector-page-titlebar-toc" class="vector-dropdown vector-page-titlebar-toc vector-button-flush-left" > <input type="checkbox" id="vector-page-titlebar-toc-checkbox" role="button" aria-haspopup="true" data-event-name="ui.dropdown-vector-page-titlebar-toc" class="vector-dropdown-checkbox " aria-label="Toggle the table of contents" > <label id="vector-page-titlebar-toc-label" for="vector-page-titlebar-toc-checkbox" class="vector-dropdown-label cdx-button cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--weight-quiet cdx-button--icon-only " aria-hidden="true" ><span class="vector-icon mw-ui-icon-listBullet mw-ui-icon-wikimedia-listBullet"></span> <span class="vector-dropdown-label-text">Toggle the table of contents</span> </label> <div class="vector-dropdown-content"> <div id="vector-page-titlebar-toc-unpinned-container" class="vector-unpinned-container"> </div> </div> </div> </nav> <h1 id="firstHeading" class="firstHeading mw-first-heading">Museology: Difference between revisions</h1> <div id="p-lang-btn" class="vector-dropdown mw-portlet mw-portlet-lang" > <input type="checkbox" id="p-lang-btn-checkbox" role="button" aria-haspopup="true" data-event-name="ui.dropdown-p-lang-btn" class="vector-dropdown-checkbox mw-interlanguage-selector" aria-label="Go to an article in another language. Available in 47 languages" > <label id="p-lang-btn-label" for="p-lang-btn-checkbox" class="vector-dropdown-label cdx-button cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--weight-quiet cdx-button--action-progressive mw-portlet-lang-heading-47" aria-hidden="true" ><span class="vector-icon mw-ui-icon-language-progressive mw-ui-icon-wikimedia-language-progressive"></span> <span class="vector-dropdown-label-text">47 languages</span> </label> <div class="vector-dropdown-content"> <div class="vector-menu-content"> <ul class="vector-menu-content-list"> <li class="interlanguage-link interwiki-ar mw-list-item"><a href="https://ar.wikipedia.org/wiki/%D8%B9%D9%84%D9%85_%D8%A7%D9%84%D9%85%D8%AA%D8%A7%D8%AD%D9%81" title="علم المتاحف – Arabic" lang="ar" hreflang="ar" data-title="علم المتاحف" data-language-autonym="العربية" data-language-local-name="Arabic" class="interlanguage-link-target"><span>العربية</span></a></li><li class="interlanguage-link interwiki-az mw-list-item"><a href="https://az.wikipedia.org/wiki/Muzey%C5%9F%C3%BCnasl%C4%B1q" title="Muzeyşünaslıq – Azerbaijani" lang="az" hreflang="az" data-title="Muzeyşünaslıq" data-language-autonym="Azərbaycanca" data-language-local-name="Azerbaijani" class="interlanguage-link-target"><span>Azərbaycanca</span></a></li><li class="interlanguage-link interwiki-be mw-list-item"><a href="https://be.wikipedia.org/wiki/%D0%9C%D1%83%D0%B7%D0%B5%D1%8F%D0%B7%D0%BD%D0%B0%D1%9E%D1%81%D1%82%D0%B2%D0%B0" title="Музеязнаўства – Belarusian" lang="be" hreflang="be" data-title="Музеязнаўства" data-language-autonym="Беларуская" data-language-local-name="Belarusian" class="interlanguage-link-target"><span>Беларуская</span></a></li><li class="interlanguage-link interwiki-bg mw-list-item"><a href="https://bg.wikipedia.org/wiki/%D0%9C%D1%83%D0%B7%D0%B5%D0%BE%D0%BB%D0%BE%D0%B3%D0%B8%D1%8F" title="Музеология – Bulgarian" lang="bg" hreflang="bg" data-title="Музеология" data-language-autonym="Български" data-language-local-name="Bulgarian" class="interlanguage-link-target"><span>Български</span></a></li><li class="interlanguage-link interwiki-bs mw-list-item"><a href="https://bs.wikipedia.org/wiki/Muzeologija" title="Muzeologija – Bosnian" lang="bs" hreflang="bs" data-title="Muzeologija" data-language-autonym="Bosanski" data-language-local-name="Bosnian" class="interlanguage-link-target"><span>Bosanski</span></a></li><li class="interlanguage-link interwiki-ca mw-list-item"><a href="https://ca.wikipedia.org/wiki/Museologia" title="Museologia – Catalan" lang="ca" hreflang="ca" data-title="Museologia" data-language-autonym="Català" data-language-local-name="Catalan" class="interlanguage-link-target"><span>Català</span></a></li><li class="interlanguage-link interwiki-cs mw-list-item"><a href="https://cs.wikipedia.org/wiki/Muzeologie" title="Muzeologie – Czech" lang="cs" hreflang="cs" data-title="Muzeologie" data-language-autonym="Čeština" data-language-local-name="Czech" class="interlanguage-link-target"><span>Čeština</span></a></li><li class="interlanguage-link interwiki-da mw-list-item"><a href="https://da.wikipedia.org/wiki/Museologi" title="Museologi – Danish" lang="da" hreflang="da" data-title="Museologi" data-language-autonym="Dansk" data-language-local-name="Danish" class="interlanguage-link-target"><span>Dansk</span></a></li><li class="interlanguage-link interwiki-de mw-list-item"><a href="https://de.wikipedia.org/wiki/Museologie" title="Museologie – German" lang="de" hreflang="de" data-title="Museologie" data-language-autonym="Deutsch" data-language-local-name="German" class="interlanguage-link-target"><span>Deutsch</span></a></li><li class="interlanguage-link interwiki-et mw-list-item"><a href="https://et.wikipedia.org/wiki/Museoloogia" title="Museoloogia – Estonian" lang="et" hreflang="et" data-title="Museoloogia" data-language-autonym="Eesti" data-language-local-name="Estonian" class="interlanguage-link-target"><span>Eesti</span></a></li><li class="interlanguage-link interwiki-el mw-list-item"><a href="https://el.wikipedia.org/wiki/%CE%9C%CE%BF%CF%85%CF%83%CE%B5%CE%B9%CE%BF%CE%BB%CE%BF%CE%B3%CE%AF%CE%B1" title="Μουσειολογία – Greek" lang="el" hreflang="el" data-title="Μουσειολογία" data-language-autonym="Ελληνικά" data-language-local-name="Greek" class="interlanguage-link-target"><span>Ελληνικά</span></a></li><li class="interlanguage-link interwiki-es mw-list-item"><a href="https://es.wikipedia.org/wiki/Museolog%C3%ADa" title="Museología – Spanish" lang="es" hreflang="es" data-title="Museología" data-language-autonym="Español" data-language-local-name="Spanish" class="interlanguage-link-target"><span>Español</span></a></li><li class="interlanguage-link interwiki-eo mw-list-item"><a href="https://eo.wikipedia.org/wiki/Muzeologio" title="Muzeologio – Esperanto" lang="eo" hreflang="eo" data-title="Muzeologio" data-language-autonym="Esperanto" data-language-local-name="Esperanto" class="interlanguage-link-target"><span>Esperanto</span></a></li><li class="interlanguage-link interwiki-eu mw-list-item"><a href="https://eu.wikipedia.org/wiki/Museologia" title="Museologia – Basque" lang="eu" hreflang="eu" data-title="Museologia" data-language-autonym="Euskara" data-language-local-name="Basque" class="interlanguage-link-target"><span>Euskara</span></a></li><li class="interlanguage-link interwiki-fa mw-list-item"><a href="https://fa.wikipedia.org/wiki/%D9%85%D9%88%D8%B2%D9%87%E2%80%8C%D8%B4%D9%86%D8%A7%D8%B3%DB%8C" title="موزه‌شناسی – Persian" lang="fa" hreflang="fa" data-title="موزه‌شناسی" data-language-autonym="فارسی" data-language-local-name="Persian" class="interlanguage-link-target"><span>فارسی</span></a></li><li class="interlanguage-link interwiki-fr mw-list-item"><a href="https://fr.wikipedia.org/wiki/Mus%C3%A9ologie" title="Muséologie – French" lang="fr" hreflang="fr" data-title="Muséologie" data-language-autonym="Français" data-language-local-name="French" class="interlanguage-link-target"><span>Français</span></a></li><li class="interlanguage-link interwiki-ko mw-list-item"><a href="https://ko.wikipedia.org/wiki/%EB%B0%95%EB%AC%BC%EA%B4%80%ED%95%99" title="박물관학 – Korean" lang="ko" hreflang="ko" data-title="박물관학" data-language-autonym="한국어" data-language-local-name="Korean" class="interlanguage-link-target"><span>한국어</span></a></li><li class="interlanguage-link interwiki-hy mw-list-item"><a href="https://hy.wikipedia.org/wiki/%D4%B9%D5%A1%D5%B6%D5%A3%D5%A1%D6%80%D5%A1%D5%B6%D5%A1%D5%A3%D5%AB%D5%BF%D5%B8%D6%82%D5%A9%D5%B5%D5%B8%D6%82%D5%B6" title="Թանգարանագիտություն – Armenian" lang="hy" hreflang="hy" data-title="Թանգարանագիտություն" data-language-autonym="Հայերեն" data-language-local-name="Armenian" class="interlanguage-link-target"><span>Հայերեն</span></a></li><li class="interlanguage-link interwiki-hi mw-list-item"><a href="https://hi.wikipedia.org/wiki/%E0%A4%B8%E0%A4%82%E0%A4%97%E0%A5%8D%E0%A4%B0%E0%A4%B9%E0%A4%BE%E0%A4%B2%E0%A4%AF_%E0%A4%B5%E0%A4%BF%E0%A4%9C%E0%A5%8D%E0%A4%9E%E0%A4%BE%E0%A4%A8" title="संग्रहालय विज्ञान – Hindi" lang="hi" hreflang="hi" data-title="संग्रहालय विज्ञान" data-language-autonym="हिन्दी" data-language-local-name="Hindi" class="interlanguage-link-target"><span>हिन्दी</span></a></li><li class="interlanguage-link interwiki-hr mw-list-item"><a href="https://hr.wikipedia.org/wiki/Muzeologija" title="Muzeologija – Croatian" lang="hr" hreflang="hr" data-title="Muzeologija" data-language-autonym="Hrvatski" data-language-local-name="Croatian" class="interlanguage-link-target"><span>Hrvatski</span></a></li><li class="interlanguage-link interwiki-it mw-list-item"><a href="https://it.wikipedia.org/wiki/Museologia" title="Museologia – Italian" lang="it" hreflang="it" data-title="Museologia" data-language-autonym="Italiano" data-language-local-name="Italian" class="interlanguage-link-target"><span>Italiano</span></a></li><li class="interlanguage-link interwiki-kk mw-list-item"><a href="https://kk.wikipedia.org/wiki/%D0%9C%D2%B1%D1%80%D0%B0%D0%B6%D0%B0%D0%B9%D1%82%D0%B0%D0%BD%D1%83" title="Мұражайтану – Kazakh" lang="kk" hreflang="kk" data-title="Мұражайтану" data-language-autonym="Қазақша" data-language-local-name="Kazakh" class="interlanguage-link-target"><span>Қазақша</span></a></li><li class="interlanguage-link interwiki-lt mw-list-item"><a href="https://lt.wikipedia.org/wiki/Muziejininkyst%C4%97" title="Muziejininkystė – Lithuanian" lang="lt" hreflang="lt" data-title="Muziejininkystė" data-language-autonym="Lietuvių" data-language-local-name="Lithuanian" class="interlanguage-link-target"><span>Lietuvių</span></a></li><li class="interlanguage-link interwiki-mk mw-list-item"><a href="https://mk.wikipedia.org/wiki/%D0%9C%D1%83%D0%B7%D0%B5%D0%BE%D0%BB%D0%BE%D0%B3%D0%B8%D1%98%D0%B0" title="Музеологија – Macedonian" lang="mk" hreflang="mk" data-title="Музеологија" data-language-autonym="Македонски" data-language-local-name="Macedonian" class="interlanguage-link-target"><span>Македонски</span></a></li><li class="interlanguage-link interwiki-mr mw-list-item"><a href="https://mr.wikipedia.org/wiki/%E0%A4%B5%E0%A4%B8%E0%A5%8D%E0%A4%A4%E0%A5%81%E0%A4%B8%E0%A4%82%E0%A4%97%E0%A5%8D%E0%A4%B0%E0%A4%B9%E0%A4%BE%E0%A4%B2%E0%A4%AF%E0%A4%B6%E0%A4%BE%E0%A4%B8%E0%A5%8D%E0%A4%A4%E0%A5%8D%E0%A4%B0" title="वस्तुसंग्रहालयशास्त्र – Marathi" lang="mr" hreflang="mr" data-title="वस्तुसंग्रहालयशास्त्र" data-language-autonym="मराठी" data-language-local-name="Marathi" class="interlanguage-link-target"><span>मराठी</span></a></li><li class="interlanguage-link interwiki-nl mw-list-item"><a href="https://nl.wikipedia.org/wiki/Museologie" title="Museologie – Dutch" lang="nl" hreflang="nl" data-title="Museologie" data-language-autonym="Nederlands" data-language-local-name="Dutch" class="interlanguage-link-target"><span>Nederlands</span></a></li><li class="interlanguage-link interwiki-ja mw-list-item"><a href="https://ja.wikipedia.org/wiki/%E5%8D%9A%E7%89%A9%E9%A4%A8%E5%AD%A6" title="博物館学 – Japanese" lang="ja" hreflang="ja" data-title="博物館学" data-language-autonym="日本語" data-language-local-name="Japanese" class="interlanguage-link-target"><span>日本語</span></a></li><li class="interlanguage-link interwiki-no mw-list-item"><a href="https://no.wikipedia.org/wiki/Museologi" title="Museologi – Norwegian Bokmål" lang="nb" hreflang="nb" data-title="Museologi" data-language-autonym="Norsk bokmål" data-language-local-name="Norwegian Bokmål" class="interlanguage-link-target"><span>Norsk bokmål</span></a></li><li class="interlanguage-link interwiki-pl mw-list-item"><a href="https://pl.wikipedia.org/wiki/Muzeologia" title="Muzeologia – Polish" lang="pl" hreflang="pl" data-title="Muzeologia" data-language-autonym="Polski" data-language-local-name="Polish" class="interlanguage-link-target"><span>Polski</span></a></li><li class="interlanguage-link interwiki-pt mw-list-item"><a href="https://pt.wikipedia.org/wiki/Museologia" title="Museologia – Portuguese" lang="pt" hreflang="pt" data-title="Museologia" data-language-autonym="Português" data-language-local-name="Portuguese" class="interlanguage-link-target"><span>Português</span></a></li><li class="interlanguage-link interwiki-ro mw-list-item"><a href="https://ro.wikipedia.org/wiki/Muzeologie" title="Muzeologie – Romanian" lang="ro" hreflang="ro" data-title="Muzeologie" data-language-autonym="Română" data-language-local-name="Romanian" class="interlanguage-link-target"><span>Română</span></a></li><li class="interlanguage-link interwiki-ru mw-list-item"><a href="https://ru.wikipedia.org/wiki/%D0%9C%D1%83%D0%B7%D0%B5%D0%B5%D0%B2%D0%B5%D0%B4%D0%B5%D0%BD%D0%B8%D0%B5" title="Музееведение – Russian" lang="ru" hreflang="ru" data-title="Музееведение" data-language-autonym="Русский" data-language-local-name="Russian" class="interlanguage-link-target"><span>Русский</span></a></li><li class="interlanguage-link interwiki-sq mw-list-item"><a href="https://sq.wikipedia.org/wiki/Muzeologjia" title="Muzeologjia – Albanian" lang="sq" hreflang="sq" data-title="Muzeologjia" data-language-autonym="Shqip" data-language-local-name="Albanian" class="interlanguage-link-target"><span>Shqip</span></a></li><li class="interlanguage-link interwiki-simple mw-list-item"><a href="https://simple.wikipedia.org/wiki/Museology" title="Museology – Simple English" lang="en-simple" hreflang="en-simple" data-title="Museology" data-language-autonym="Simple English" data-language-local-name="Simple English" class="interlanguage-link-target"><span>Simple English</span></a></li><li class="interlanguage-link interwiki-sk mw-list-item"><a href="https://sk.wikipedia.org/wiki/Muzeol%C3%B3gia" title="Muzeológia – Slovak" lang="sk" hreflang="sk" data-title="Muzeológia" data-language-autonym="Slovenčina" data-language-local-name="Slovak" class="interlanguage-link-target"><span>Slovenčina</span></a></li><li class="interlanguage-link interwiki-sr mw-list-item"><a href="https://sr.wikipedia.org/wiki/Muzeologija" title="Muzeologija – Serbian" lang="sr" hreflang="sr" data-title="Muzeologija" data-language-autonym="Српски / srpski" data-language-local-name="Serbian" class="interlanguage-link-target"><span>Српски / srpski</span></a></li><li class="interlanguage-link interwiki-sh mw-list-item"><a href="https://sh.wikipedia.org/wiki/Muzeologija" title="Muzeologija – Serbo-Croatian" lang="sh" hreflang="sh" data-title="Muzeologija" data-language-autonym="Srpskohrvatski / српскохрватски" data-language-local-name="Serbo-Croatian" class="interlanguage-link-target"><span>Srpskohrvatski / српскохрватски</span></a></li><li class="interlanguage-link interwiki-fi mw-list-item"><a href="https://fi.wikipedia.org/wiki/Museologia" title="Museologia – Finnish" lang="fi" hreflang="fi" data-title="Museologia" data-language-autonym="Suomi" data-language-local-name="Finnish" class="interlanguage-link-target"><span>Suomi</span></a></li><li class="interlanguage-link interwiki-sv mw-list-item"><a href="https://sv.wikipedia.org/wiki/Museologi" title="Museologi – Swedish" lang="sv" hreflang="sv" data-title="Museologi" data-language-autonym="Svenska" data-language-local-name="Swedish" class="interlanguage-link-target"><span>Svenska</span></a></li><li class="interlanguage-link interwiki-ta mw-list-item"><a href="https://ta.wikipedia.org/wiki/%E0%AE%85%E0%AE%B0%E0%AF%81%E0%AE%99%E0%AF%8D%E0%AE%95%E0%AE%BE%E0%AE%9F%E0%AF%8D%E0%AE%9A%E0%AE%BF%E0%AE%AF%E0%AE%95%E0%AE%B5%E0%AE%BF%E0%AE%AF%E0%AE%B2%E0%AF%8D" title="அருங்காட்சியகவியல் – Tamil" lang="ta" hreflang="ta" data-title="அருங்காட்சியகவியல்" data-language-autonym="தமிழ்" data-language-local-name="Tamil" class="interlanguage-link-target"><span>தமிழ்</span></a></li><li class="interlanguage-link interwiki-th mw-list-item"><a href="https://th.wikipedia.org/wiki/%E0%B8%9E%E0%B8%B4%E0%B8%9E%E0%B8%B4%E0%B8%98%E0%B8%A0%E0%B8%B1%E0%B8%93%E0%B8%91%E0%B9%8C%E0%B8%A7%E0%B8%B4%E0%B8%97%E0%B8%A2%E0%B8%B2" title="พิพิธภัณฑ์วิทยา – Thai" lang="th" hreflang="th" data-title="พิพิธภัณฑ์วิทยา" data-language-autonym="ไทย" data-language-local-name="Thai" class="interlanguage-link-target"><span>ไทย</span></a></li><li class="interlanguage-link interwiki-tr mw-list-item"><a href="https://tr.wikipedia.org/wiki/M%C3%BCzeoloji" title="Müzeoloji – Turkish" lang="tr" hreflang="tr" data-title="Müzeoloji" data-language-autonym="Türkçe" data-language-local-name="Turkish" class="interlanguage-link-target"><span>Türkçe</span></a></li><li class="interlanguage-link interwiki-uk mw-list-item"><a href="https://uk.wikipedia.org/wiki/%D0%9C%D1%83%D0%B7%D0%B5%D1%94%D0%B7%D0%BD%D0%B0%D0%B2%D1%81%D1%82%D0%B2%D0%BE" title="Музеєзнавство – Ukrainian" lang="uk" hreflang="uk" data-title="Музеєзнавство" data-language-autonym="Українська" data-language-local-name="Ukrainian" class="interlanguage-link-target"><span>Українська</span></a></li><li class="interlanguage-link interwiki-ur mw-list-item"><a href="https://ur.wikipedia.org/wiki/%D8%B9%D9%84%D9%85_%D8%B9%D8%AC%D8%A7%D8%A6%D8%A8_%DA%AF%DA%BE%D8%B1" title="علم عجائب گھر – Urdu" lang="ur" hreflang="ur" data-title="علم عجائب گھر" data-language-autonym="اردو" data-language-local-name="Urdu" class="interlanguage-link-target"><span>اردو</span></a></li><li class="interlanguage-link interwiki-vi mw-list-item"><a href="https://vi.wikipedia.org/wiki/B%E1%BA%A3o_t%C3%A0ng_h%E1%BB%8Dc" title="Bảo tàng học – Vietnamese" lang="vi" hreflang="vi" data-title="Bảo tàng học" data-language-autonym="Tiếng Việt" data-language-local-name="Vietnamese" class="interlanguage-link-target"><span>Tiếng Việt</span></a></li><li class="interlanguage-link interwiki-war mw-list-item"><a href="https://war.wikipedia.org/wiki/Museolohiya" title="Museolohiya – Waray" lang="war" hreflang="war" 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edit</a></div></td> <td colspan="2" class="diff-ntitle diff-side-added"><div id="mw-diff-ntitle1"><strong><a href="/w/index.php?title=Museology&oldid=1221486690" title="Museology">Revision as of 06:41, 30 April 2024</a> <span class="mw-diff-edit"><a href="/w/index.php?title=Museology&action=edit&oldid=1221486690" title="Museology">edit</a></span><span class="mw-diff-timestamp" data-timestamp="2024-04-30T06:41:22Z"></span> <span class="mw-diff-undo"><a href="/w/index.php?title=Museology&action=edit&undoafter=1221486591&undo=1221486690" title=""Undo" reverts this edit and opens the edit form in preview mode. It allows adding a reason in the summary.">undo</a></span></strong></div><div id="mw-diff-ntitle2"><a href="/wiki/User:Ecangola" class="mw-userlink" title="User:Ecangola" data-mw-revid="1221486690"><bdi>Ecangola</bdi></a> <span class="mw-usertoollinks">(<a href="/wiki/User_talk:Ecangola" class="mw-usertoollinks-talk" title="User talk:Ecangola">talk</a> | <a href="/wiki/Special:Contributions/Ecangola" class="mw-usertoollinks-contribs" title="Special:Contributions/Ecangola">contribs</a>)</span><div class="mw-diff-usermetadata"><div class="mw-diff-userroles"><a href="/wiki/Wikipedia:Extended_confirmed_editors" class="mw-redirect" title="Wikipedia:Extended confirmed editors">Extended confirmed users</a></div><div class="mw-diff-usereditcount"><span>91,177</span> edits</div></div></div><div id="mw-diff-ntitle3"> <span class="comment comment--without-parentheses"><span class="autocomment"><a href="#Bibliography">→<bdi dir="ltr">Bibliography</bdi></a>: </span> fmt</span></div><div id="mw-diff-ntitle5"><span class="mw-tag-markers"><a href="/wiki/Special:Tags" title="Special:Tags">Tag</a>: <span class="mw-tag-marker mw-tag-marker-visualeditor"><a href="/wiki/Wikipedia:VisualEditor" title="Wikipedia:VisualEditor">Visual edit</a></span></span></div><div id="mw-diff-ntitle4"><a href="/w/index.php?title=Museology&diff=next&oldid=1221486690" title="Museology" id="differences-nextlink">Next edit →</a></div></td> </tr><tr> <td colspan="2" class="diff-lineno">Line 115:</td> <td colspan="2" class="diff-lineno">Line 115:</td> </tr> <tr> <td class="diff-marker"></td> <td class="diff-context diff-side-deleted"><div>* Huygens, I. (2011). Developing a Decolonisation Practice for Settler Colonisers: A Case Study from Aotearoa New Zealand. Settler Colonial Studies 1(2): 53-81.</div></td> <td class="diff-marker"></td> <td class="diff-context diff-side-added"><div>* Huygens, I. (2011). Developing a Decolonisation Practice for Settler Colonisers: A Case Study from Aotearoa New Zealand. Settler Colonial Studies 1(2): 53-81.</div></td> </tr> <tr> <td class="diff-marker"></td> <td class="diff-context diff-side-deleted"><div>* Igloliorte, H., Loft, S. & Croft, B. L. (2012). Decolonize Me. ABC Art Books Canada.</div></td> <td class="diff-marker"></td> <td class="diff-context diff-side-added"><div>* Igloliorte, H., Loft, S. & Croft, B. L. (2012). Decolonize Me. ABC Art Books Canada.</div></td> </tr> <tr> <td class="diff-marker" data-marker="−"></td> <td class="diff-deletedline diff-side-deleted"><div>* International Council of Museums (ICOM). (2009). <del class="diffchange diffchange-inline">Key Concepts of Museology. Retrieved July 2, 2017 from: </del>http://icom.museum/fileadmin/user_upload/pdf/Key_Concepts_of_Museology/Museologie_Anglais_BD.pdf</div></td> <td class="diff-marker" data-marker="+"></td> <td class="diff-addedline diff-side-added"><div>* International Council of Museums (ICOM). (2009). <ins class="diffchange diffchange-inline">[</ins>http://icom.museum/fileadmin/user_upload/pdf/Key_Concepts_of_Museology/Museologie_Anglais_BD.pdf<ins class="diffchange diffchange-inline"> Key Concepts of Museology.] Retrieved July 2, 2017</ins></div></td> </tr> <tr> <td class="diff-marker"></td> <td class="diff-context diff-side-deleted"><div>* International Field School in Critical Museology (2017). Retrieved from: https://www.concordia.ca/artsci/academics/summer/critical-museology.html</div></td> <td class="diff-marker"></td> <td class="diff-context diff-side-added"><div>* International Field School in Critical Museology (2017). Retrieved from: https://www.concordia.ca/artsci/academics/summer/critical-museology.html</div></td> </tr> <tr> <td class="diff-marker"></td> <td class="diff-context diff-side-deleted"><div>* Kishlansky, M, Geary, P. and O’Brien, P. (2008). Civilization in the West (7th Edition, Vol. C). New York: Pearson Education.</div></td> <td class="diff-marker"></td> <td class="diff-context diff-side-added"><div>* Kishlansky, M, Geary, P. and O’Brien, P. (2008). Civilization in the West (7th Edition, Vol. C). New York: Pearson Education.</div></td> </tr> </table><hr class='diff-hr' id='mw-oldid' /> <h2 class='diff-currentversion-title'>Revision as of 06:41, 30 April 2024</h2> <div class="mw-content-ltr mw-parser-output" lang="en" dir="ltr"><div class="shortdescription nomobile noexcerpt noprint searchaux" style="display:none">Study of museums</div> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Museum_of_Anthropology_at_UBC_11.JPG" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/b/bc/Museum_of_Anthropology_at_UBC_11.JPG/220px-Museum_of_Anthropology_at_UBC_11.JPG" decoding="async" width="220" height="147" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/b/bc/Museum_of_Anthropology_at_UBC_11.JPG/330px-Museum_of_Anthropology_at_UBC_11.JPG 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/b/bc/Museum_of_Anthropology_at_UBC_11.JPG/440px-Museum_of_Anthropology_at_UBC_11.JPG 2x" data-file-width="6016" data-file-height="4016" /></a><figcaption>The <a href="/wiki/Museum_of_Anthropology_at_UBC" title="Museum of Anthropology at UBC">Museum of Anthropology at UBC</a>. </figcaption></figure> <p><b>Museology</b> (also called <b>museum studies</b> or <b>museum science</b>) is the study of <a href="/wiki/Museum" title="Museum">museums</a>. It explores the history of museums and their role in society, as well as the activities they engage in, including <a href="/wiki/Curator" title="Curator">curating</a>, <a href="/wiki/Conservation-restoration_of_cultural_heritage" class="mw-redirect" title="Conservation-restoration of cultural heritage">preservation</a>, public programming, and <a href="/wiki/Museum_education" title="Museum education">education</a>. </p> <meta property="mw:PageProp/toc" /> <div class="mw-heading mw-heading2"><h2 id="Terminology">Terminology</h2></div> <p>The words that are used to describe the study of museums vary depending on language and geography. For example, while “museology” is becoming more prevalent in English, it is most commonly used to refer to the study of museums in French (muséologie), Spanish (museología), German (Museologie), Italian (museologia), and Portuguese (museologia) – while English speakers more often use the term “museum studies” to refer to that same field of study.<sup id="cite_ref-1" class="reference"><a href="#cite_note-1"><span class="cite-bracket">[</span>1<span class="cite-bracket">]</span></a></sup> When referring to the day-to-day operations of museums, other European languages typically use derivatives of the <a href="/wiki/Greek_language" title="Greek language">Greek</a> “museographia” (French: muséographie, Spanish: museografía, German: Museographie, Italian: museografia, Portuguese: museografia), while English speakers typically use the term “museum practice” or “operational museology”<sup id="cite_ref-:0_2-0" class="reference"><a href="#cite_note-:0-2"><span class="cite-bracket">[</span>2<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading2"><h2 id="Development_of_the_field">Development of the field</h2></div> <p>The development of museology in Europe coincided with the emergence of early <a href="/wiki/Collecting#History" title="Collecting">collectors</a> and <a href="/wiki/Cabinet_of_curiosities" title="Cabinet of curiosities">cabinets of curiosity</a> in the 16th, 17th, and 18th centuries. In particular, during <a href="/wiki/Age_of_Enlightenment" title="Age of Enlightenment">The Age of Enlightenment</a> anthropologists, naturalists, and hobbyist collectors encouraged the growth of public museums that displayed <a href="/wiki/Natural_history_museum" title="Natural history museum">natural history</a> and ethnographic objects and art in North America and Europe. In the 18th and 19th centuries, European powers’ <a href="/wiki/Colonization" title="Colonization">colonization</a> of overseas lands was accompanied by the development of the disciplines of natural history and ethnography, and the rise of private and institutional collection building. In many cases museums became the holding places for collections that were acquired through colonial conquests, which positioned museums as key institutions in <a href="/wiki/Western_Europe" title="Western Europe">Western European</a> <a href="/wiki/Western_European_colonialism_and_colonization" class="mw-redirect" title="Western European colonialism and colonization">colonial projects</a>.<sup id="cite_ref-:1_3-0" class="reference"><a href="#cite_note-:1-3"><span class="cite-bracket">[</span>3<span class="cite-bracket">]</span></a></sup> </p><p>In the 19th century, European museology was focused on framing museums as institutions that would educate and “civilize” the general public. Museums typically served nationalist interests, and their primary purpose was often to celebrate the state, country, or colonial power. Though <a href="/wiki/World%27s_fair" title="World's fair">World’s Fairs</a>, such as <a href="/wiki/The_Great_Exhibition" class="mw-redirect" title="The Great Exhibition">The Great Exhibition of 1851</a> in London or the <a href="/wiki/World%27s_Columbian_Exposition" title="World's Columbian Exposition">Chicago World’s Fair</a>, were temporary, they were some of the first examples of large-scale exhibition spaces dedicated to nationalist agendas; both Britain and America wanted to assert themselves as international leaders in science and industry.<sup id="cite_ref-4" class="reference"><a href="#cite_note-4"><span class="cite-bracket">[</span>4<span class="cite-bracket">]</span></a></sup> In some cases world's fairs became the basis for museums. For instance, The Field Museum in Chicago grew out of the 1893 World's Columbian Exposition.<sup id="cite_ref-5" class="reference"><a href="#cite_note-5"><span class="cite-bracket">[</span>5<span class="cite-bracket">]</span></a></sup> </p><p>In the European context, the first academic journal on museology was the <i><a rel="nofollow" class="external text" href="http://digital.slub-dresden.de/id407977015">Zeitschrift für Museologie und Antiquitätenkunde sowie verwandte Wissenschaften</a></i> (Journal for museology and antiquarianism as well as related sciences, 1878–1885) founded and edited by Dr <a href="https://de.wikipedia.org/wiki/Johann_Georg_Theodor_Gr%C3%A4sse" class="extiw" title="de:Johann Georg Theodor Grässe">Johann Georg Theodor Graesse</a> (1814–1885), director of <a href="https://de.wikipedia.org/wiki/Porzellansammlung_(Dresden)" class="extiw" title="de:Porzellansammlung (Dresden)">Dresden Porcelain Collection</a> at the time. The journal was published twice a month from 1878 to 1885, and ended when the founding editor died. The <i>Zeitschrift für Museologie</i> was followed by the second German journal on museology, <i><a rel="nofollow" class="external text" href="https://www.museumsbund.de/publikationen-uebersicht/">Museumskunde</a></i> (since 1905), which was founded in Dresden by Dr <a href="https://de.wikipedia.org/wiki/Karl_Koetschau" class="extiw" title="de:Karl Koetschau">Karl Koetschau</a> (1868–1949), director of the <a rel="nofollow" class="external text" href="https://ruestkammer.skd.museum/ueber-uns/">Dresden History Museum</a> at the time. Since 1917, the journal <i>Museumskunde</i> has become the official periodical of the <a rel="nofollow" class="external text" href="https://www.museumsbund.de">Deutscher Museumsbund e.V.</a> (German Museums Association, since 1917). </p><p><a href="/wiki/Museums_Association" title="Museums Association">Museums Association</a>, the first professional membership organization for those working in the museum field, was established in London in 1889. In 1901, they developed the <a href="/wiki/Museums_Journal" title="Museums Journal">Museums Journal</a>, the first English periodical devoted entirely to the theory and practice of museums, which was followed by the <a href="/wiki/American_Alliance_of_Museums" title="American Alliance of Museums">American Association of Museum’s</a> Museum Work in the United States (1919). With the creation of the <a href="/wiki/International_Council_of_Museums" title="International Council of Museums">International Council of Museums</a> (ICOM) in 1946, the study of museums gained increasing momentum and exposure, though at the time most of the scholarly focus was on operational museology, or museum practice.<sup id="cite_ref-6" class="reference"><a href="#cite_note-6"><span class="cite-bracket">[</span>6<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-:2_7-0" class="reference"><a href="#cite_note-:2-7"><span class="cite-bracket">[</span>7<span class="cite-bracket">]</span></a></sup> </p><p>Beginning in the 1950s, new forms of museology were emerging as a way to revitalize the educational role of museums.<sup id="cite_ref-8" class="reference"><a href="#cite_note-8"><span class="cite-bracket">[</span>8<span class="cite-bracket">]</span></a></sup> One attempt to re-envision museums’ role was the concept of <a href="/wiki/Ecomuseum" title="Ecomuseum">Ecomuseums</a>, first proposed publicly at ICOM’s 9th International Conference in France (1971).<sup id="cite_ref-9" class="reference"><a href="#cite_note-9"><span class="cite-bracket">[</span>9<span class="cite-bracket">]</span></a></sup> <a href="/wiki/Ecomuseum" title="Ecomuseum">Ecomuseums</a> proliferated in Europe – and still exist around the world today – challenging traditional museums and dominant museum narratives, with an explicit focus on community control and the development of both heritage and sustainability. In 1988, Robert Lumley’s book The Museum Time Machine “expressed the growing disquiet about traditional museological presuppositions and operations”.<sup id="cite_ref-:2_7-1" class="reference"><a href="#cite_note-:2-7"><span class="cite-bracket">[</span>7<span class="cite-bracket">]</span></a></sup> The following year, Peter Vergo published his critically acclaimed edited collection The New Museology (1989/1997), a work that aimed to challenge the traditional or “old” field of museology, and was named one of the Paperbacks of the Year by <a href="/wiki/The_Sunday_Times" title="The Sunday Times">The Sunday Times</a> in Britain.<sup id="cite_ref-10" class="reference"><a href="#cite_note-10"><span class="cite-bracket">[</span>10<span class="cite-bracket">]</span></a></sup> Around the same time, Ivan Karp co-organized two ground-breaking conferences at the Smithsonian, Exhibiting Cultures (1988) and Museums and Communities (1990), that soon resulted in highly influential volumes of the same names that redefined museums studies.<sup id="cite_ref-ExhibitingCultures_11-0" class="reference"><a href="#cite_note-ExhibitingCultures-11"><span class="cite-bracket">[</span>11<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-12" class="reference"><a href="#cite_note-12"><span class="cite-bracket">[</span>12<span class="cite-bracket">]</span></a></sup> Scholars who are engaged in various “new” museological practices sometimes disagree about when this trend “officially” began, what exactly it encompasses, and whether or not it is an ongoing field of study. However, the common thread of New Museology is that it has always involved some form of “radical reassessment of the roles of museums within society”.<sup id="cite_ref-:1_3-1" class="reference"><a href="#cite_note-:1-3"><span class="cite-bracket">[</span>3<span class="cite-bracket">]</span></a></sup> </p><p>Critical theorists like <a href="/wiki/Michel_Foucault" title="Michel Foucault">Michel Foucault</a>, <a href="/wiki/Walter_Benjamin" title="Walter Benjamin">Walter Benjamin</a>, and <a href="/wiki/Benedict_Anderson" title="Benedict Anderson">Benedict Anderson</a> also had a profound influence on late 20th and early 21st century museology. As other disciplines began to be critically reassessed, often adding the term “critical” to their new titles (i.e. <a href="/wiki/Critical_race_theory" title="Critical race theory">critical race theory</a>), a discourse of critical museology also emerged, intensifying around the turn of the 21st century. It arose from a similar critical discourse as New Museology and shares many of its features, so much so that many scholars disagree about the extent to which you can distinguish one from the other. In other words, while some scholars say that New Museology was a watershed moment in the late 20th century and critical museology is a related but separate movement in the early 21st century, others argue that New Museology is an ongoing field of study that has many manifestations and names, one of which is critical museology<sup id="cite_ref-:2_7-2" class="reference"><a href="#cite_note-:2-7"><span class="cite-bracket">[</span>7<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-:3_13-0" class="reference"><a href="#cite_note-:3-13"><span class="cite-bracket">[</span>13<span class="cite-bracket">]</span></a></sup> </p><p>The latest movements in museology tend to focus on museums being <a href="/wiki/Interdisciplinarity" title="Interdisciplinarity">interdisciplinary</a>, multi-vocal, accessible, and open to criticism. While these critical discourses dominate contemporary museology, there are many different kinds of museums that exist today, some are engaged in new and innovative practices, and others are more traditional and therefore, less critical.<sup id="cite_ref-:3_13-1" class="reference"><a href="#cite_note-:3-13"><span class="cite-bracket">[</span>13<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading2"><h2 id="Operational_museology">Operational museology</h2></div> <p>Operational museology refers to the day-to-day operations of a museum, including its organizational and regulatory structures, institutional policies and protocols (procedural, ethical, etc.), collections management (including <a href="/wiki/Conservation-restoration_of_cultural_heritage" class="mw-redirect" title="Conservation-restoration of cultural heritage">conservation and restoration</a>), and its <a href="/wiki/Exhibit_design" title="Exhibit design">exhibitions</a> and programs.<sup id="cite_ref-:0_2-1" class="reference"><a href="#cite_note-:0-2"><span class="cite-bracket">[</span>2<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-:2_7-3" class="reference"><a href="#cite_note-:2-7"><span class="cite-bracket">[</span>7<span class="cite-bracket">]</span></a></sup> While there has been much scholarship around operational museology over the last 30 years, some scholars argue that it has lacked sustained analysis.<sup id="cite_ref-:2_7-4" class="reference"><a href="#cite_note-:2-7"><span class="cite-bracket">[</span>7<span class="cite-bracket">]</span></a></sup> Scholarship concerning operational museology has also overlapped with critical museology and other developments in the field. </p> <div class="mw-heading mw-heading3"><h3 id="Public_role_of_museums">Public role of museums</h3></div> <p>Operational museology has shifted in the late 20th and 21st century to position the museum as a central institution that serves the public by informing culture, history, and art while creating space for challenging conversations.<sup id="cite_ref-14" class="reference"><a href="#cite_note-14"><span class="cite-bracket">[</span>14<span class="cite-bracket">]</span></a></sup> Museums are thus perceived as cultural communicators that can reconstruct and reconnect cultural memory to the viewing public by collecting, preserving, documenting, and interpreting material culture.<sup id="cite_ref-15" class="reference"><a href="#cite_note-15"><span class="cite-bracket">[</span>15<span class="cite-bracket">]</span></a></sup> For example, many history museums engage with public memory from a multi-vocal perspective and present critical narratives regarding current sociopolitical issues. Other history museums, however, keep nationalistic approaches pertaining to the 19th century.<sup id="cite_ref-:9_16-0" class="reference"><a href="#cite_note-:9-16"><span class="cite-bracket">[</span>16<span class="cite-bracket">]</span></a></sup> Some museums convey reflexive and critical narratives, while others enact as "mass mediums" oriented toward international tourist networks.<sup id="cite_ref-17" class="reference"><a href="#cite_note-17"><span class="cite-bracket">[</span>17<span class="cite-bracket">]</span></a></sup> These institutions tend to display spectacular exhibition designs and grant little space for complex narratives and critical messages.<sup id="cite_ref-18" class="reference"><a href="#cite_note-18"><span class="cite-bracket">[</span>18<span class="cite-bracket">]</span></a></sup> </p><p>Scholars have identified a recent transformation in the way museums define their functions and produce their programming strategies as these have become spaces for encounters and meaningful experiences. For instance, in <i>The Metamorphosis of the Museal: From Exhibitionary to Experiential Complex and Beyond</i>, <a href="/wiki/Andreas_Huyssen" title="Andreas Huyssen">Andreas Huyssen</a> observes the museum, formerly conceived as "a container of the past and its accumulated objects” is now conceived as “a site of activity and experience in and for an ever-expanding present.”<sup id="cite_ref-:9_16-1" class="reference"><a href="#cite_note-:9-16"><span class="cite-bracket">[</span>16<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading2"><h2 id="Critical_museology">Critical museology</h2></div> <div class="mw-heading mw-heading3"><h3 id="Overview_of_the_field">Overview of the field</h3></div> <p>Critical museology has emerged as a key discourse in contemporary museology. It is a broad field of study that engages critically with museums, calling into question the foundational assumptions of the field.<sup id="cite_ref-19" class="reference"><a href="#cite_note-19"><span class="cite-bracket">[</span>19<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-:4_20-0" class="reference"><a href="#cite_note-:4-20"><span class="cite-bracket">[</span>20<span class="cite-bracket">]</span></a></sup> This demonstrates critical museology’s close connection to New Museology, which also challenges foundational assumptions in museology. Critical museology may also extend beyond the traditional <a href="/wiki/Museum" title="Museum">museum</a> to include <a href="/wiki/Cultural_center" title="Cultural center">cultural centres</a>, <a href="/wiki/Historic_site" title="Historic site">heritage sites</a>, <a href="/wiki/Memorial" title="Memorial">memorials</a>, <a href="/wiki/Art_museum" title="Art museum">art galleries</a>, and so on.<sup id="cite_ref-ExhibitingCultures_11-1" class="reference"><a href="#cite_note-ExhibitingCultures-11"><span class="cite-bracket">[</span>11<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-:5_21-0" class="reference"><a href="#cite_note-:5-21"><span class="cite-bracket">[</span>21<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-22" class="reference"><a href="#cite_note-22"><span class="cite-bracket">[</span>22<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading3"><h3 id="Development_of_the_field_2">Development of the field</h3></div> <p>Given that museums are historically linked to <a href="/wiki/Colonialism" title="Colonialism">colonialism</a>, <a href="/wiki/Imperialism" title="Imperialism">imperialism</a>, and European <a href="/wiki/Missionary" title="Missionary">missionary</a> work, they have a morally and politically problematic past. While some of the objects museums hold were purchased – though not always fairly and often to the exclusive benefit of the collector – a large proportion of museum collections were taken as spoils of war, or otherwise removed without the consent of the people or community that owned them.<sup id="cite_ref-23" class="reference"><a href="#cite_note-23"><span class="cite-bracket">[</span>23<span class="cite-bracket">]</span></a></sup> Museums, along with their collections – and collectors – played a key role in establishing and reiterating the dominance of colonial Europe and narratives of cultural superiority. Critical museology was developed through questioning the foundational assumptions of museum studies and museums, including their history, architecture, display, programming, and the provenance of their objects.<sup id="cite_ref-:5_21-1" class="reference"><a href="#cite_note-:5-21"><span class="cite-bracket">[</span>21<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-24" class="reference"><a href="#cite_note-24"><span class="cite-bracket">[</span>24<span class="cite-bracket">]</span></a></sup> Recent work has also analyzed exhibition design to show how the diverse media combined in exhibitions communicate and shape visitors' interpretations and values.<sup id="cite_ref-25" class="reference"><a href="#cite_note-25"><span class="cite-bracket">[</span>25<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-26" class="reference"><a href="#cite_note-26"><span class="cite-bracket">[</span>26<span class="cite-bracket">]</span></a></sup> While <a href="/wiki/Anthropologist" title="Anthropologist">anthropologists</a> and the field of <a href="/wiki/Anthropology" title="Anthropology">anthropology</a> were actively engaged in problematic collecting practices for two centuries, anthropologists have also been central to the emergence of critical museology in the late 20th and early 21st centuries.<sup id="cite_ref-:6_27-0" class="reference"><a href="#cite_note-:6-27"><span class="cite-bracket">[</span>27<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-28" class="reference"><a href="#cite_note-28"><span class="cite-bracket">[</span>28<span class="cite-bracket">]</span></a></sup> This has included reconstructing and analyzing those collection histories and the relationships that grew around them, as in the Pitt Rivers Museum's "Relational Museum" project.<sup id="cite_ref-29" class="reference"><a href="#cite_note-29"><span class="cite-bracket">[</span>29<span class="cite-bracket">]</span></a></sup> They have also led interdisciplinary working groups that developed new approaches to globalizing processes in critical museology, as foregrounded in Museum Frictions, a third innovative volume co-edited by Ivan Karp.<sup id="cite_ref-30" class="reference"><a href="#cite_note-30"><span class="cite-bracket">[</span>30<span class="cite-bracket">]</span></a></sup> Additionally, anthropologists have spearheaded recent methodological and pedagogical developments in critical museology including “curatorial dreaming”, curating labs like the <a rel="nofollow" class="external text" href="http://hennessy.iat.sfu.ca/mcl/">Making Culture Lab</a> at <a href="/wiki/Simon_Fraser_University" title="Simon Fraser University">Simon Fraser University</a>, the <a rel="nofollow" class="external text" href="http://capsl.cerev.ca/">Curating and Public Scholarship Lab</a> at <a href="/wiki/Concordia_University" title="Concordia University">Concordia University</a>, and the <a rel="nofollow" class="external text" href="http://www.carmah.berlin/">Centre for Anthropological Research on Museums and Heritage</a> (CARMAH) in Berlin, as well as courses like the <a rel="nofollow" class="external text" href="https://www.concordia.ca/artsci/academics/summer/critical-museology.html">International Field School in Critical Museology</a>.<sup id="cite_ref-:4_20-1" class="reference"><a href="#cite_note-:4-20"><span class="cite-bracket">[</span>20<span class="cite-bracket">]</span></a></sup> In other contexts, historians have been at the forefront of interventions in critical museology.<sup id="cite_ref-31" class="reference"><a href="#cite_note-31"><span class="cite-bracket">[</span>31<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading3"><h3 id="Decolonizing_and_indigenizing_museums">Decolonizing and indigenizing museums</h3></div> <p>In North America, Australia, and New Zealand in particular, critical museology attempts to address the problematic colonial pasts of museums through the decolonization and Indigenization of museums. </p><p>Once viewed as the formal process of handing over the instruments of government, decolonizing is now recognized – particularly in Canada – as a long-term process that involves dismantling the bureaucratic, cultural, linguistic, and psychological legacies of colonial power<sup id="cite_ref-32" class="reference"><a href="#cite_note-32"><span class="cite-bracket">[</span>32<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-:7_33-0" class="reference"><a href="#cite_note-:7-33"><span class="cite-bracket">[</span>33<span class="cite-bracket">]</span></a></sup> While there is no agreed upon end-goal of decolonization, the process of decolonizing the museum is aimed at “assist[ing] communities in their efforts to address the legacies of historical unresolved grief by speaking the hard truths of colonialism and thereby creating spaces for healing and understanding”.<sup id="cite_ref-:6_27-1" class="reference"><a href="#cite_note-:6-27"><span class="cite-bracket">[</span>27<span class="cite-bracket">]</span></a></sup> </p><p>Collaboration, consultation, and <a href="/wiki/Repatriation_(cultural_heritage)" class="mw-redirect" title="Repatriation (cultural heritage)">repatriation</a> are key components of decolonizing museums. Australian museums have been leaders in developing repatriation processes, consultation, and collaboration with Indigenous communities, beginning in the late 1980s.<sup id="cite_ref-34" class="reference"><a href="#cite_note-34"><span class="cite-bracket">[</span>34<span class="cite-bracket">]</span></a></sup> Projects involving collaboration and consultation with source communities have taken many forms, ranging from developing traveling exhibits, revising collection catalogues, to establishing community cultural centers and working with photographic collections together.<sup id="cite_ref-35" class="reference"><a href="#cite_note-35"><span class="cite-bracket">[</span>35<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-36" class="reference"><a href="#cite_note-36"><span class="cite-bracket">[</span>36<span class="cite-bracket">]</span></a></sup> In Canada, collaboration and consultation were first formally suggested by the 1994 Task Force Report on Museums and First Peoples, and are now seen by many museums as being an essential practice for any institution that holds collections belonging to <a href="/wiki/Indigenous_peoples" title="Indigenous peoples">Indigenous peoples</a>.<sup id="cite_ref-:8_37-0" class="reference"><a href="#cite_note-:8-37"><span class="cite-bracket">[</span>37<span class="cite-bracket">]</span></a></sup> In North America, and around the world, some of the objects in those collections – particularly sacred objects or human remains – have been <a href="/wiki/Repatriation_(cultural_heritage)" class="mw-redirect" title="Repatriation (cultural heritage)">repatriated</a> or returned to their communities of origin. <a href="/wiki/Native_American_Graves_Protection_and_Repatriation_Act" title="Native American Graves Protection and Repatriation Act">The Native American Graves Protection and Repatriation Act (1990)</a> formalized the process of <a href="/wiki/Repatriation_(cultural_heritage)" class="mw-redirect" title="Repatriation (cultural heritage)">repatriating</a> Indigenous cultural objects in the United States. While Canada does not have a formal policy around repatriation, many museums have their own internal policies and many objects have been returned to Indigenous communities that way. Though repatriation policies are typically well intended, the process has often been complicated by institutional, community, and government politics, and have had varying degrees of success. </p><p>A newer concept, the <a href="/wiki/Indigenization" title="Indigenization">Indigenization</a> of museums, moves away from focusing exclusively on collaborative methods and towards employing Indigenous people to work in positions of power within museums as a means of opening up the museum to sustained Indigenous influences, and restructuring the museum to reflect Indigenous approaches to knowledge sharing. Examples of indigenizing museum practice include <a href="/wiki/Art_Gallery_of_Ontario" title="Art Gallery of Ontario">Art Gallery of Ontario</a>'s 2016 appointing of <a href="/wiki/Wanda_Nanibush" title="Wanda Nanibush">Wanda Nanibush</a> as the Curator of Canadian and Indigenous Art,<sup id="cite_ref-38" class="reference"><a href="#cite_note-38"><span class="cite-bracket">[</span>38<span class="cite-bracket">]</span></a></sup> Wood Land School’s takeover of the SBC Gallery of Contemporary Art in Montreal,<sup id="cite_ref-39" class="reference"><a href="#cite_note-39"><span class="cite-bracket">[</span>39<span class="cite-bracket">]</span></a></sup> the appointment of Aboriginal curators at the South Australia Museum, the Australian Museum, the National Museum of Australia, and the Museum of Contemporary Art Australia,<sup id="cite_ref-40" class="reference"><a href="#cite_note-40"><span class="cite-bracket">[</span>40<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-41" class="reference"><a href="#cite_note-41"><span class="cite-bracket">[</span>41<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-42" class="reference"><a href="#cite_note-42"><span class="cite-bracket">[</span>42<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-43" class="reference"><a href="#cite_note-43"><span class="cite-bracket">[</span>43<span class="cite-bracket">]</span></a></sup> and the creation of the Reciprocal Research Network, which is an interactive online resource co-developed by the <a href="/wiki/Musqueam_Indian_Band" class="mw-redirect" title="Musqueam Indian Band">Musqueam Indian Band</a>, the <a href="/wiki/Sto:lo_Nation" class="mw-redirect" title="Sto:lo Nation">Sto:lo Nation Tribal Council</a>, the U’mista Cultural Centre, and the <a href="/wiki/Museum_of_Anthropology_at_UBC" title="Museum of Anthropology at UBC">Museum of Anthropology at UBC</a>, to facilitate collaborative research and knowledge exchange between communities, scholars, and cultural institutions in Canada and internationally.<sup id="cite_ref-44" class="reference"><a href="#cite_note-44"><span class="cite-bracket">[</span>44<span class="cite-bracket">]</span></a></sup> </p><p>While there is no linear trajectory of decolonizing/Indigenizing work in museums, major milestones in Canada include the <a href="/wiki/Indians_of_Canada_Pavilion" title="Indians of Canada Pavilion">Indians of Canada Pavilion</a> at <a href="/wiki/Expo_67" title="Expo 67">Expo 67</a>’; The <a href="/wiki/Lubicon_Lake_Indian_Nation" title="Lubicon Lake Indian Nation">Lubicon Cree</a>’s boycott of <a href="/wiki/Colonialism_and_the_Olympic_Games#Claims_of_cultural_theft_and_erasure_at_the_1988_Winter_Olympics_in_Calgary.2C_AB" title="Colonialism and the Olympic Games">The Spirit Sings</a>, a <a href="/wiki/Shell_Oil_Company" class="mw-redirect" title="Shell Oil Company">Shell</a> sponsored exhibition at the <a href="/wiki/Glenbow_Museum" title="Glenbow Museum">Glenbow Museum</a> in 1988, and the resulting Task Force Report on Museums and First Peoples in 1994;<sup id="cite_ref-:8_37-1" class="reference"><a href="#cite_note-:8-37"><span class="cite-bracket">[</span>37<span class="cite-bracket">]</span></a></sup> and <a href="/wiki/Truth_and_Reconciliation_Commission_of_Canada" title="Truth and Reconciliation Commission of Canada">The Truth and Reconciliation Commission of Canada’s 2015</a> final report, with Calls to Action that specifically address museums and archives.<sup id="cite_ref-:7_33-1" class="reference"><a href="#cite_note-:7-33"><span class="cite-bracket">[</span>33<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-45" class="reference"><a href="#cite_note-45"><span class="cite-bracket">[</span>45<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-46" class="reference"><a href="#cite_note-46"><span class="cite-bracket">[</span>46<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-47" class="reference"><a href="#cite_note-47"><span class="cite-bracket">[</span>47<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading3"><h3 id="Feminist_critique_and_feminist_curating">Feminist critique and feminist curating</h3></div> <p>Given that museums and their collection strategies are historically linked to patriarchal values and marked by androcentric bias, critical feminist museology has developed as a distinct analytical approach.<sup id="cite_ref-48" class="reference"><a href="#cite_note-48"><span class="cite-bracket">[</span>48<span class="cite-bracket">]</span></a></sup> Scholars have identified that power relations of class, gender, and race are inscribed in the museum.<sup id="cite_ref-49" class="reference"><a href="#cite_note-49"><span class="cite-bracket">[</span>49<span class="cite-bracket">]</span></a></sup> Histories, theories, and practices of feminist curating have been explored in a series of conferences and symposia.<sup id="cite_ref-50" class="reference"><a href="#cite_note-50"><span class="cite-bracket">[</span>50<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-51" class="reference"><a href="#cite_note-51"><span class="cite-bracket">[</span>51<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-52" class="reference"><a href="#cite_note-52"><span class="cite-bracket">[</span>52<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading2"><h2 id="New_methodologies">New methodologies</h2></div> <div class="mw-heading mw-heading3"><h3 id="Vienna_Method">Vienna Method</h3></div> <p>The Vienna Method, subsequently called <a href="/wiki/Isotype_(picture_language)" title="Isotype (picture language)">ISOTYPES</a> was developed by the <a href="/wiki/Gesellschafts-_und_Wirtschaftsmuseum" title="Gesellschafts- und Wirtschaftsmuseum">Gesellschafts- und Wirtschaftsmuseum</a> (Museum for Social and Economic Affairs), <a href="/wiki/Vienna" title="Vienna">Vienna</a>. With the support of <a href="/wiki/Otto_Gl%C3%B6ckel" title="Otto Glöckel">Otto Glöckel</a> of the <a href="/w/index.php?title=Vienna_City_Council&action=edit&redlink=1" class="new" title="Vienna City Council (page does not exist)">Vienna City Council</a> the Museum sought to make sociological and economic information accessible to the whole population regardless of their level of education. <a rel="nofollow" class="external autonumber" href="https://www.peterlang.com/search?pageSize=10&sort=datedescending&q1=Kraeutler+Hadwig&searchWithinSubmit=&t1=">[2]</a> </p> <div class="mw-heading mw-heading3"><h3 id="Museum_interventions">Museum interventions</h3></div> <p>Interventions in museums were <a href="/wiki/Art_intervention" title="Art intervention">first employed by artists</a> like <a href="/wiki/Marcel_Duchamp" title="Marcel Duchamp">Marcel Duchamp</a>, who were looking to challenge both established elite art traditions and the expectations of museum visitors. By the late 20th century, interventions had become a methodology used not only by artists, but also by other groups – including activists, museum visitors, and even museums themselves – as a way to democratize exhibitions, challenge dominant narratives, problematize the provenance of museum objects, and so on. </p> <div class="mw-heading mw-heading4"><h4 id="Artist_interventions">Artist interventions</h4></div> <p>A central aspect of <a href="/wiki/Institutional_Critique" title="Institutional Critique">Institutional Critique</a>, some artist’s interventions have been co-organized or commissioned by museums themselves – like <a href="/wiki/Fred_Wilson_(artist)" title="Fred Wilson (artist)">Fred Wilson</a>’s Mining the Museum (1992) at the <a href="/wiki/Maryland_Historical_Society" class="mw-redirect" title="Maryland Historical Society">Maryland Historical Society</a>, <a href="/wiki/Michael_Nicoll_Yahgulanaas" title="Michael Nicoll Yahgulanaas">Michael Nicholl Yahgulanaas</a>’ Meddling in the Museum (2007) at UBC’s <a href="/wiki/Museum_of_Anthropology_at_UBC" title="Museum of Anthropology at UBC">Museum of Anthropology</a>, or the Artists' Interventions at the Pitt Rivers Museum in Oxford<sup id="cite_ref-53" class="reference"><a href="#cite_note-53"><span class="cite-bracket">[</span>53<span class="cite-bracket">]</span></a></sup> – while others have been done without explicit permission, like <a href="/wiki/Andrea_Fraser" title="Andrea Fraser">Andrea Fraser</a>’s Museum Highlights (1989) at the <a href="/wiki/Philadelphia_Museum_of_Art" title="Philadelphia Museum of Art">Philadelphia Museum of Art</a>.<sup id="cite_ref-54" class="reference"><a href="#cite_note-54"><span class="cite-bracket">[</span>54<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-55" class="reference"><a href="#cite_note-55"><span class="cite-bracket">[</span>55<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-56" class="reference"><a href="#cite_note-56"><span class="cite-bracket">[</span>56<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-57" class="reference"><a href="#cite_note-57"><span class="cite-bracket">[</span>57<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-58" class="reference"><a href="#cite_note-58"><span class="cite-bracket">[</span>58<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-59" class="reference"><a href="#cite_note-59"><span class="cite-bracket">[</span>59<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-60" class="reference"><a href="#cite_note-60"><span class="cite-bracket">[</span>60<span class="cite-bracket">]</span></a></sup> </p><p>One of the best known artist interventions in a museum is <a href="/wiki/James_Luna" title="James Luna">James Luna</a>’s <i>Artifact Piece</i>, which was first performed at the San Diego Museum of Man in 1987, and then again at <i>The Decade Show</i> in New York in 1990. Luna, a <a href="/wiki/Luise%C3%B1o" title="Luiseño">Luiseño</a> artist, lay almost naked in a display case filled with artifacts in order to challenge representations of Indigenous peoples in museums and the narratives that accompanied those representations, which suggested that Indigenous people and cultures were dead. The objects in the case included Luna's favorite books and music, his divorce papers, his university degree, photos, and other mementos, alongside labels describing the scars on his body and how he had acquired them.<sup id="cite_ref-61" class="reference"><a href="#cite_note-61"><span class="cite-bracket">[</span>61<span class="cite-bracket">]</span></a></sup> The work was critically acclaimed for its challenge of conventional narratives of Indigeneity and Indigenous experience. A few years later, two artists – Guillermo Gómez-Peña and Coco Fusco – developed a traveling performance art piece called <a href="/wiki/Couple_in_The_Cage:_Two_Undiscovered_Amerindians_Visit_the_West" title="Couple in The Cage: Two Undiscovered Amerindians Visit the West">The <i>Couple in the Cage: Two Amerindiens Visit the West</i></a> that reflected on the treatment and representation of Indigenous peoples in colonial contexts, and was performed in many different spaces, including <a href="/wiki/Covent_Gardens" class="mw-redirect" title="Covent Gardens">Covent Gardens</a>, the <a href="/wiki/Walker_Art_Center" title="Walker Art Center">Walker Art Center</a>, the Smithsonian's <a href="/wiki/National_Museum_of_Natural_History" title="National Museum of Natural History">National Museum of Natural History</a>, the <a href="/wiki/Australian_Museum" title="Australian Museum">Australia Museum</a>, and the <a href="/wiki/Field_Museum_of_Natural_History" title="Field Museum of Natural History">Field Museum</a>.<sup id="cite_ref-62" class="reference"><a href="#cite_note-62"><span class="cite-bracket">[</span>62<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading4"><h4 id="Activist_interventions">Activist interventions</h4></div> <p>While there is overlap between artist and activist interventions, specific activist groups such as the <a href="/wiki/Guerrilla_Girls" title="Guerrilla Girls">Guerrilla Girls</a> have long been creating exhibitions and public advertisements – through the use of billboards, stickers, posters, and projections – to critique power dynamics related to sexism, racism, and class privilege in museums.<sup id="cite_ref-63" class="reference"><a href="#cite_note-63"><span class="cite-bracket">[</span>63<span class="cite-bracket">]</span></a></sup> </p><p>There is also a tradition of activist interventions being used as responses to the censorship of exhibited artworks. In 1989, after the <a href="/wiki/Corcoran_Gallery_of_Art" title="Corcoran Gallery of Art">Corcoran Gallery of Art</a> cancelled <a href="/wiki/Corcoran_Gallery_of_Art#Mapplethorpe_controversy" title="Corcoran Gallery of Art"><i>The Perfect Moment</i></a>, an exhibition of Robert Mapplethorpe’s explicit photography, protesters projected Mapplethorpe’s photos on the exterior of the museum.<sup id="cite_ref-64" class="reference"><a href="#cite_note-64"><span class="cite-bracket">[</span>64<span class="cite-bracket">]</span></a></sup> Similar protests occurred when <a href="/wiki/David_Wojnarowicz" title="David Wojnarowicz">David Wojnarowicz</a>'s film <i><a href="/wiki/A_Fire_in_My_Belly" title="A Fire in My Belly">A Fire in My Belly</a></i> was removed from the <a href="/wiki/National_Portrait_Gallery_(United_States)#Hide.2FSeek_controversy" title="National Portrait Gallery (United States)"><i>Hide/Seek: Difference and Desire in American Portraiture</i></a> exhibit at the <a href="/wiki/National_Portrait_Gallery_(United_States)" title="National Portrait Gallery (United States)">National Portrait Gallery</a> in 2010.<sup id="cite_ref-65" class="reference"><a href="#cite_note-65"><span class="cite-bracket">[</span>65<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading4"><h4 id="Internal_institutional_interventions">Internal institutional interventions</h4></div> <p>While most interventions are directed at museums from outside sources, museums also engage interventions as a way of performing self-critique. For example, in 2015 <a href="/wiki/Museum_of_Modern_Art" title="Museum of Modern Art">MoMA</a> mounted a meta-intervention exhibit called <i>Messing with MoMA: Critical Interventions at the Museum of Modern Art 1939 – Now</i>.<sup id="cite_ref-66" class="reference"><a href="#cite_note-66"><span class="cite-bracket">[</span>66<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-67" class="reference"><a href="#cite_note-67"><span class="cite-bracket">[</span>67<span class="cite-bracket">]</span></a></sup> In a similar way, ethnographic exhibitions have been incorporating contemporary art as a way to disrupt conventional expectations and narratives.<sup id="cite_ref-68" class="reference"><a href="#cite_note-68"><span class="cite-bracket">[</span>68<span class="cite-bracket">]</span></a></sup> </p><p>Another critical intervention in museums is the conception of permanent exhibitions, which are long-lasting galleries presenting the museum collections that critically reveal and approach the connections between the institution, its history and practices, and the cultural and social context in which the institution is embedded. This practice seeks to highlight the transformations in the paradigms that have determined the messages and languages of museums in the past, and invites visitors to reflect on the diverse roles of museums through history. The display of the collections of the <a href="/wiki/Museum_of_Antioquia" title="Museum of Antioquia">Museum of Antioquia</a> (Medellín, Colombia) exemplifies this practice. The design of the gallery <i>Historias para re-pensar</i> (Histories to re-think) focuses on the 19th century and first half of the 20th century, and proposes a critical review of the region’s art history thereby inquiring about the role of collectors and the Museum in the construction of aesthetic paradigms. The gallery includes contemporary works in order to install a dialogue between the past and the present.<a rel="nofollow" class="external autonumber" href="https://www.eltiempo.com/cultura/arte-y-teatro/exposiciones-sobre-historia-del-arte-en-el-museo-de-antioquia-59684">[3]</a> Additionally, the section of the permanent exhibition titled <i>Galleries for decolonial dialogues: The persistence of the dogma</i> displays an anachronistic array of works and documents in order to convey how enduring colonial dogmas determined the country’s cultural values and visual experiences during the 19th century.<a rel="nofollow" class="external autonumber" href="https://www.museodeantioquia.co/exposicion/la-persistencia-del-dogma/">[4]</a> The project of redeveloping the Museum’s permanent galleries is part of a larger institutional transformation that makes the Museum of Antioquia a great example of comprehensive critical museology practices.<a rel="nofollow" class="external autonumber" href="https://www.revistaarcadia.com/agenda/articulo/museo-360-que-paso-aqui-un-especial-sobre-el-museo-de-antioquia/74289">[5]</a> Another example of this Museum’s critical approach is the artistic residency project of artist <a href="/wiki/Nadia_Granados" title="Nadia Granados">Nadia Granados</a> who, with curator <a href="/w/index.php?title=Carolina_Chac%C3%B3n&action=edit&redlink=1" class="new" title="Carolina Chacón (page does not exist)">Carolina Chacón</a> and a group of sex workers based in downtown Medellín, developed in 2017 the award-winning cabaret/performance <i><a href="/w/index.php?title=Nadie_sabe_qui%C3%A9n_soy_yo&action=edit&redlink=1" class="new" title="Nadie sabe quién soy yo (page does not exist)">Nadie sabe quién soy yo</a></i> (No one knows who I am). From then on, the performers funded the group <a href="/w/index.php?title=Las_Guerreras_del_Centro&action=edit&redlink=1" class="new" title="Las Guerreras del Centro (page does not exist)">Las Guerreras del Centro</a>, a collective to highlight the lives and stories of sex workers through artistic performances, knitting circles and other community actions. </p><p><i>Nadie sabe quién soy yo</i> was the beginning of a series of curatorial and educational collaborations between Las Guerreras del Centro and the Museum of Antioquia. Such collaborative projects are destigmatizing and empowering critical museology practices that generate new spaces for exchanges and social dialogues. These spaces emerge from the museum, forge links beyond museum walls, and drastically transform the museum’s relationship with its social environment.<a rel="nofollow" class="external autonumber" href="https://www.utadeo.edu.co/es/articulo/crossmedialab/277626/las-guerreras-del-centro-resiliencia-de-las-trabajadoras-sexuales-en-medellin">[6]</a> </p><p>Another example of a museum presenting a critical review of messages conveyed by the institution in the past can be found in the <a href="/wiki/Royal_Ontario_Museum" title="Royal Ontario Museum">Royal Ontario Museum</a> permanent exhibition, specifically in its Canadian history galleries. In this case, ROM curators have repurposed old <a href="/wiki/Diorama" title="Diorama">dioramas</a> as a way to reflect critically on past uses of dioramas to portray indigenous people’s cultures. The new ironic diorama questions this common practice in museums and points out the stereotypes such practices promoted in the past (e.g., the depiction of indigenous peoples as belonging to another time or somehow as primitive or extinguished cultures). </p> <div class="mw-heading mw-heading3"><h3 id="Curatorial_dreaming">Curatorial dreaming</h3></div> <p>Curatorial Dreaming was originally developed as a challenge to museum critics, who are typically not expected to provide practical solutions to the issues they identify in the exhibits they critique, to develop their own imagined exhibitions. It is intended as “an alternative mode of critical, intellectual practice – a form of ‘theorizing in the concrete’”.<sup id="cite_ref-:4_20-2" class="reference"><a href="#cite_note-:4-20"><span class="cite-bracket">[</span>20<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading3"><h3 id="Curating_workshops,_courses_and_labs"><span id="Curating_workshops.2C_courses_and_labs"></span>Curating workshops, courses and labs</h3></div> <style data-mw-deduplicate="TemplateStyles:r1251242444">.mw-parser-output .ambox{border:1px solid #a2a9b1;border-left:10px solid #36c;background-color:#fbfbfb;box-sizing:border-box}.mw-parser-output .ambox+link+.ambox,.mw-parser-output .ambox+link+style+.ambox,.mw-parser-output .ambox+link+link+.ambox,.mw-parser-output .ambox+.mw-empty-elt+link+.ambox,.mw-parser-output .ambox+.mw-empty-elt+link+style+.ambox,.mw-parser-output .ambox+.mw-empty-elt+link+link+.ambox{margin-top:-1px}html body.mediawiki .mw-parser-output .ambox.mbox-small-left{margin:4px 1em 4px 0;overflow:hidden;width:238px;border-collapse:collapse;font-size:88%;line-height:1.25em}.mw-parser-output .ambox-speedy{border-left:10px solid #b32424;background-color:#fee7e6}.mw-parser-output .ambox-delete{border-left:10px solid #b32424}.mw-parser-output .ambox-content{border-left:10px solid #f28500}.mw-parser-output .ambox-style{border-left:10px solid #fc3}.mw-parser-output .ambox-move{border-left:10px solid #9932cc}.mw-parser-output .ambox-protection{border-left:10px solid #a2a9b1}.mw-parser-output .ambox .mbox-text{border:none;padding:0.25em 0.5em;width:100%}.mw-parser-output .ambox .mbox-image{border:none;padding:2px 0 2px 0.5em;text-align:center}.mw-parser-output .ambox .mbox-imageright{border:none;padding:2px 0.5em 2px 0;text-align:center}.mw-parser-output .ambox .mbox-empty-cell{border:none;padding:0;width:1px}.mw-parser-output .ambox .mbox-image-div{width:52px}@media(min-width:720px){.mw-parser-output .ambox{margin:0 10%}}@media print{body.ns-0 .mw-parser-output .ambox{display:none!important}}</style><table class="box-External_links plainlinks metadata ambox ambox-style ambox-external_links" role="presentation"><tbody><tr><td class="mbox-image"><div class="mbox-image-div"><span typeof="mw:File"><span><img alt="" src="//upload.wikimedia.org/wikipedia/en/thumb/f/f2/Edit-clear.svg/40px-Edit-clear.svg.png" decoding="async" width="40" height="40" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/en/thumb/f/f2/Edit-clear.svg/60px-Edit-clear.svg.png 1.5x, //upload.wikimedia.org/wikipedia/en/thumb/f/f2/Edit-clear.svg/80px-Edit-clear.svg.png 2x" data-file-width="48" data-file-height="48" /></span></span></div></td><td class="mbox-text"><div class="mbox-text-span">This section's <b>use of <a href="/wiki/Wikipedia:External_links" title="Wikipedia:External links">external links</a> may not follow Wikipedia's policies or guidelines</b>.<span class="hide-when-compact"> Please <a class="external text" href="https://en.wikipedia.org/w/index.php?title=Museology&action=edit">improve this article</a> by removing <a href="/wiki/Wikipedia:What_Wikipedia_is_not#Wikipedia_is_not_a_mirror_or_a_repository_of_links,_images,_or_media_files" title="Wikipedia:What Wikipedia is not">excessive</a> or <a href="/wiki/Wikipedia:External_links" title="Wikipedia:External links">inappropriate</a> external links, and converting useful links where appropriate into <a href="/wiki/Wikipedia:Citing_sources" title="Wikipedia:Citing sources">footnote references</a>.</span> <span class="date-container"><i>(<span class="date">January 2018</span>)</i></span><span class="hide-when-compact"><i> (<small><a href="/wiki/Help:Maintenance_template_removal" title="Help:Maintenance template removal">Learn how and when to remove this message</a></small>)</i></span></div></td></tr></tbody></table> <p>Over the last three decades there has been a proliferation of curating workshops, courses, and labs that engage with New Museology and critical museology in museum spaces, in universities, and elsewhere.<sup id="cite_ref-69" class="reference"><a href="#cite_note-69"><span class="cite-bracket">[</span>69<span class="cite-bracket">]</span></a></sup> For instance, the <a href="/wiki/Center_for_Curatorial_Studies,_Bard_College" title="Center for Curatorial Studies, Bard College">Center for Curatorial Studies, Bard College</a><sup id="cite_ref-70" class="reference"><a href="#cite_note-70"><span class="cite-bracket">[</span>70<span class="cite-bracket">]</span></a></sup> in New York was founded in 1990 and began offering a graduate program in 1994.<sup id="cite_ref-71" class="reference"><a href="#cite_note-71"><span class="cite-bracket">[</span>71<span class="cite-bracket">]</span></a></sup> In Germany, the <a rel="nofollow" class="external text" href="http://www.carmah.berlin/">Centre for Anthropological Research on Museums and Heritage</a> is engaging with the social, cultural, and political issues facing contemporary museums.<sup id="cite_ref-72" class="reference"><a href="#cite_note-72"><span class="cite-bracket">[</span>72<span class="cite-bracket">]</span></a></sup> In Canada, two of the most innovative curating labs are the <a rel="nofollow" class="external text" href="http://hennessy.iat.sfu.ca/mcl/">Making Culture Lab</a> at <a href="/wiki/Simon_Fraser_University" title="Simon Fraser University">Simon Fraser University</a> in Vancouver and the <a rel="nofollow" class="external text" href="http://capsl.cerev.ca/">Curating and Public Scholarship Lab</a> at <a href="/wiki/Concordia_University" title="Concordia University">Concordia University</a> in Montreal, which offered its inaugural <a rel="nofollow" class="external text" href="https://www.concordia.ca/artsci/academics/summer/critical-museology.html">International Field School in Critical Museology</a> in May 2017.<sup id="cite_ref-73" class="reference"><a href="#cite_note-73"><span class="cite-bracket">[</span>73<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-74" class="reference"><a href="#cite_note-74"><span class="cite-bracket">[</span>74<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-75" class="reference"><a href="#cite_note-75"><span class="cite-bracket">[</span>75<span class="cite-bracket">]</span></a></sup> The <a rel="nofollow" class="external text" href="https://www.uwc.ac.za/Faculties/ART/History/Pages/APMHS.aspx">African Programme in Museum and Heritage Studies</a> in Cape Town includes a curatorial module within a comprehensive diploma and M.A. program that engages critically with museum and heritage studies, the leading program on the continent.<sup id="cite_ref-76" class="reference"><a href="#cite_note-76"><span class="cite-bracket">[</span>76<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading2"><h2 id="See_also">See also</h2></div> <ul><li><a href="/wiki/Conservation-restoration_of_cultural_heritage" class="mw-redirect" title="Conservation-restoration of cultural heritage">Conservation-restoration of cultural heritage</a></li> <li><a href="/wiki/GLAM_(cultural_heritage)" title="GLAM (cultural heritage)">GLAM</a></li> <li><a href="/wiki/Library_and_information_science" title="Library and information science">Library and Information science</a></li> <li><a href="/wiki/Museum_anthropology" title="Museum anthropology">Museum anthropology</a></li> <li><a href="/wiki/Museum_education" title="Museum education">Museum education</a></li> <li><a href="/wiki/Natural_history_museum" title="Natural history museum">Natural history museum</a></li> <li><a href="/wiki/World%27s_fair" title="World's fair">World's fair</a></li></ul> <div class="mw-heading mw-heading2"><h2 id="References">References</h2></div> <style data-mw-deduplicate="TemplateStyles:r1239543626">.mw-parser-output .reflist{margin-bottom:0.5em;list-style-type:decimal}@media screen{.mw-parser-output .reflist{font-size:90%}}.mw-parser-output .reflist .references{font-size:100%;margin-bottom:0;list-style-type:inherit}.mw-parser-output .reflist-columns-2{column-width:30em}.mw-parser-output .reflist-columns-3{column-width:25em}.mw-parser-output .reflist-columns{margin-top:0.3em}.mw-parser-output .reflist-columns ol{margin-top:0}.mw-parser-output .reflist-columns li{page-break-inside:avoid;break-inside:avoid-column}.mw-parser-output .reflist-upper-alpha{list-style-type:upper-alpha}.mw-parser-output .reflist-upper-roman{list-style-type:upper-roman}.mw-parser-output .reflist-lower-alpha{list-style-type:lower-alpha}.mw-parser-output .reflist-lower-greek{list-style-type:lower-greek}.mw-parser-output .reflist-lower-roman{list-style-type:lower-roman}</style><div class="reflist"> <div class="mw-references-wrap mw-references-columns"><ol class="references"> <li id="cite_note-1"><span class="mw-cite-backlink"><b><a href="#cite_ref-1">^</a></b></span> <span class="reference-text"><style data-mw-deduplicate="TemplateStyles:r1238218222">.mw-parser-output cite.citation{font-style:inherit;word-wrap:break-word}.mw-parser-output .citation q{quotes:"\"""\"""'""'"}.mw-parser-output .citation:target{background-color:rgba(0,127,255,0.133)}.mw-parser-output .id-lock-free.id-lock-free a{background:url("//upload.wikimedia.org/wikipedia/commons/6/65/Lock-green.svg")right 0.1em center/9px no-repeat}.mw-parser-output .id-lock-limited.id-lock-limited a,.mw-parser-output .id-lock-registration.id-lock-registration a{background:url("//upload.wikimedia.org/wikipedia/commons/d/d6/Lock-gray-alt-2.svg")right 0.1em center/9px no-repeat}.mw-parser-output .id-lock-subscription.id-lock-subscription a{background:url("//upload.wikimedia.org/wikipedia/commons/a/aa/Lock-red-alt-2.svg")right 0.1em center/9px no-repeat}.mw-parser-output .cs1-ws-icon a{background:url("//upload.wikimedia.org/wikipedia/commons/4/4c/Wikisource-logo.svg")right 0.1em center/12px no-repeat}body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-free a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-limited a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-registration a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-subscription a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .cs1-ws-icon a{background-size:contain;padding:0 1em 0 0}.mw-parser-output .cs1-code{color:inherit;background:inherit;border:none;padding:inherit}.mw-parser-output .cs1-hidden-error{display:none;color:var(--color-error,#d33)}.mw-parser-output .cs1-visible-error{color:var(--color-error,#d33)}.mw-parser-output .cs1-maint{display:none;color:#085;margin-left:0.3em}.mw-parser-output .cs1-kern-left{padding-left:0.2em}.mw-parser-output .cs1-kern-right{padding-right:0.2em}.mw-parser-output .citation .mw-selflink{font-weight:inherit}@media screen{.mw-parser-output .cs1-format{font-size:95%}html.skin-theme-clientpref-night .mw-parser-output .cs1-maint{color:#18911f}}@media screen and (prefers-color-scheme:dark){html.skin-theme-clientpref-os .mw-parser-output .cs1-maint{color:#18911f}}</style><cite id="CITEREFMurphy2018" class="citation journal cs1">Murphy, Oonagh (Spring 2018). <a rel="nofollow" class="external text" href="https://www.tate.org.uk/research/publications/tate-papers/29/museum-studies-critical-praxis">"Museum Studies as Critical Praxis: Developing an Active Approach to Teaching, Research and Practice"</a>. <i>Tate Papers</i>. <b>29</b>.</cite><span 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"Deconstructing Systems of Bias in the Museum Field Using Critical Race Theory". <i>Journal of Museum Education</i>. <b>42</b> (3): 290–295. <a href="/wiki/Doi_(identifier)" class="mw-redirect" title="Doi (identifier)">doi</a>:<a rel="nofollow" class="external text" href="https://doi.org/10.1080%2F10598650.2017.1339172">10.1080/10598650.2017.1339172</a>. <a href="/wiki/ISSN_(identifier)" class="mw-redirect" title="ISSN (identifier)">ISSN</a> <a rel="nofollow" class="external text" href="https://search.worldcat.org/issn/1059-8650">1059-8650</a>. <a href="/wiki/S2CID_(identifier)" class="mw-redirect" title="S2CID (identifier)">S2CID</a> <a rel="nofollow" class="external text" href="https://api.semanticscholar.org/CorpusID:149413322">149413322</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Journal+of+Museum+Education&rft.atitle=Deconstructing+Systems+of+Bias+in+the+Museum+Field+Using+Critical+Race+Theory&rft.volume=42&rft.issue=3&rft.pages=290-295&rft.date=2017-07-03&rft_id=https%3A%2F%2Fapi.semanticscholar.org%2FCorpusID%3A149413322%23id-name%3DS2CID&rft.issn=1059-8650&rft_id=info%3Adoi%2F10.1080%2F10598650.2017.1339172&rft.aulast=Adams&rft.aufirst=Melanie+A.&rfr_id=info%3Asid%2Fen.wikipedia.org%3AMuseology" class="Z3988"></span></span> </li> <li id="cite_note-15"><span class="mw-cite-backlink"><b><a href="#cite_ref-15">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFJacksonRichardson2014" class="citation book cs1">Jackson, Ronald L.; Richardson, Elaine B., eds. (2014-05-22). <i>Understanding African American Rhetoric</i>. <a href="/wiki/Doi_(identifier)" class="mw-redirect" title="Doi (identifier)">doi</a>:<a rel="nofollow" class="external text" href="https://doi.org/10.4324%2F9781315024332">10.4324/9781315024332</a>. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/9781315024332" title="Special:BookSources/9781315024332"><bdi>9781315024332</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Understanding+African+American+Rhetoric&rft.date=2014-05-22&rft_id=info%3Adoi%2F10.4324%2F9781315024332&rft.isbn=9781315024332&rfr_id=info%3Asid%2Fen.wikipedia.org%3AMuseology" class="Z3988"></span></span> </li> <li id="cite_note-:9-16"><span class="mw-cite-backlink">^ <a href="#cite_ref-:9_16-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-:9_16-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFHuyssen2020" class="citation book cs1">Huyssen, Andreas (2020-12-31). "CHAPTER II. The Metamorphosis of the Museal". In Altınay, Ayşe Gül; Contreras, María José; Hirsch, Marianne; Howard, Jean; Karaca, Banu; Solomon, Alisa (eds.). <i>CHAPTER II. The Metamorphosis of the Museal from Exhibitionary to Experiential Complex and Beyond</i>. Columbia University Press. pp. 47–64. <a href="/wiki/Doi_(identifier)" class="mw-redirect" title="Doi (identifier)">doi</a>:<a rel="nofollow" class="external text" href="https://doi.org/10.7312%2Falti19184-004">10.7312/alti19184-004</a>. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-231-54997-4" title="Special:BookSources/978-0-231-54997-4"><bdi>978-0-231-54997-4</bdi></a>. <a href="/wiki/S2CID_(identifier)" class="mw-redirect" title="S2CID (identifier)">S2CID</a> <a rel="nofollow" class="external text" href="https://api.semanticscholar.org/CorpusID:225024619">225024619</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=bookitem&rft.atitle=CHAPTER+II.+The+Metamorphosis+of+the+Museal&rft.btitle=CHAPTER+II.+The+Metamorphosis+of+the+Museal+from+Exhibitionary+to+Experiential+Complex+and+Beyond&rft.pages=47-64&rft.pub=Columbia+University+Press&rft.date=2020-12-31&rft_id=https%3A%2F%2Fapi.semanticscholar.org%2FCorpusID%3A225024619%23id-name%3DS2CID&rft_id=info%3Adoi%2F10.7312%2Falti19184-004&rft.isbn=978-0-231-54997-4&rft.aulast=Huyssen&rft.aufirst=Andreas&rfr_id=info%3Asid%2Fen.wikipedia.org%3AMuseology" class="Z3988"></span> <span class="cs1-visible-error citation-comment"><code class="cs1-code">{{<a href="/wiki/Template:Cite_book" title="Template:Cite book">cite book</a>}}</code>: </span><span class="cs1-visible-error citation-comment"><code class="cs1-code">|work=</code> ignored (<a href="/wiki/Help:CS1_errors#periodical_ignored" title="Help:CS1 errors">help</a>)</span>. p. 51</span> </li> <li id="cite_note-17"><span class="mw-cite-backlink"><b><a href="#cite_ref-17">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFHuyssen,_Andreas.2012" class="citation book cs1">Huyssen, Andreas. (2012). <i>Twilight Memories : Marking Time in a Culture of Amnesia</i>. Taylor and Francis. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-136-04222-5" title="Special:BookSources/978-1-136-04222-5"><bdi>978-1-136-04222-5</bdi></a>. <a href="/wiki/OCLC_(identifier)" class="mw-redirect" title="OCLC (identifier)">OCLC</a> <a rel="nofollow" class="external text" href="https://search.worldcat.org/oclc/821174264">821174264</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Twilight+Memories+%3A+Marking+Time+in+a+Culture+of+Amnesia.&rft.pub=Taylor+and+Francis&rft.date=2012&rft_id=info%3Aoclcnum%2F821174264&rft.isbn=978-1-136-04222-5&rft.au=Huyssen%2C+Andreas.&rfr_id=info%3Asid%2Fen.wikipedia.org%3AMuseology" class="Z3988"></span></span> </li> <li id="cite_note-18"><span class="mw-cite-backlink"><b><a href="#cite_ref-18">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFHuyssen2020" class="citation book cs1">Huyssen, Andreas (2020-12-31). "CHAPTER II. The Metamorphosis of the Museal". In Altınay, Ayşe Gül; Contreras, María José; Hirsch, Marianne; Howard, Jean; Karaca, Banu; Solomon, Alisa (eds.). <i>CHAPTER II. The Metamorphosis of the Museal from Exhibitionary to Experiential Complex and Beyond</i>. Columbia University Press. pp. 47–64. <a href="/wiki/Doi_(identifier)" class="mw-redirect" title="Doi (identifier)">doi</a>:<a rel="nofollow" class="external text" href="https://doi.org/10.7312%2Falti19184-004">10.7312/alti19184-004</a>. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-231-54997-4" title="Special:BookSources/978-0-231-54997-4"><bdi>978-0-231-54997-4</bdi></a>. <a href="/wiki/S2CID_(identifier)" class="mw-redirect" title="S2CID (identifier)">S2CID</a> <a rel="nofollow" class="external text" href="https://api.semanticscholar.org/CorpusID:225024619">225024619</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=bookitem&rft.atitle=CHAPTER+II.+The+Metamorphosis+of+the+Museal&rft.btitle=CHAPTER+II.+The+Metamorphosis+of+the+Museal+from+Exhibitionary+to+Experiential+Complex+and+Beyond&rft.pages=47-64&rft.pub=Columbia+University+Press&rft.date=2020-12-31&rft_id=https%3A%2F%2Fapi.semanticscholar.org%2FCorpusID%3A225024619%23id-name%3DS2CID&rft_id=info%3Adoi%2F10.7312%2Falti19184-004&rft.isbn=978-0-231-54997-4&rft.aulast=Huyssen&rft.aufirst=Andreas&rfr_id=info%3Asid%2Fen.wikipedia.org%3AMuseology" class="Z3988"></span> <span class="cs1-visible-error citation-comment"><code class="cs1-code">{{<a href="/wiki/Template:Cite_book" title="Template:Cite book">cite book</a>}}</code>: </span><span class="cs1-visible-error citation-comment"><code class="cs1-code">|work=</code> ignored (<a href="/wiki/Help:CS1_errors#periodical_ignored" title="Help:CS1 errors">help</a>)</span>. p. 50</span> </li> <li id="cite_note-19"><span class="mw-cite-backlink"><b><a href="#cite_ref-19">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFShelton2013" class="citation journal cs1">Shelton, Anthony (2013). 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(2017). <a rel="nofollow" class="external text" href="http://docs.wixstatic.com/ugd/2b2fa6_8f2b4b9eece24189920c7ab3031744f0.pdf">Inside a Year-Long Experiment in Indigenous Institutional Critique.</a></li> <li>Houston, K. (2017). <a rel="nofollow" class="external text" href="http://www.bmoreart.com/2017/05/how-mining-the-museum-changed-the-art-world.html">How ‘Mining the Museum’ Changed the Art World.</a> BmoreArt.</li> <li>Huygens, I. (2011). Developing a Decolonisation Practice for Settler Colonisers: A Case Study from Aotearoa New Zealand. Settler Colonial Studies 1(2): 53-81.</li> <li>Igloliorte, H., Loft, S. & Croft, B. L. (2012). Decolonize Me. ABC Art Books Canada.</li> <li>International Council of Museums (ICOM). (2009). <a rel="nofollow" class="external text" href="http://icom.museum/fileadmin/user_upload/pdf/Key_Concepts_of_Museology/Museologie_Anglais_BD.pdf">Key Concepts of Museology.</a> Retrieved July 2, 2017</li> <li>International Field School in Critical Museology (2017). Retrieved from: <a rel="nofollow" class="external free" href="https://www.concordia.ca/artsci/academics/summer/critical-museology.html">https://www.concordia.ca/artsci/academics/summer/critical-museology.html</a></li> <li>Kishlansky, M, Geary, P. and O’Brien, P. (2008). Civilization in the West (7th Edition, Vol. C). New York: Pearson Education.</li> <li>Kennicott, P. (2010). 'Fire' Man: Wojnarowicz, Censored by Smithsonian, Sounded an Alarm in Dire Times. Washington Post. 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Cultural Dynamics 7(1): 15- 36.</li> <li>Making Culture Lab <a rel="nofollow" class="external free" href="http://hennessy.iat.sfu.ca/mcl/about-making-culture-lab/">http://hennessy.iat.sfu.ca/mcl/about-making-culture-lab/</a></li> <li>Martin, R (2014) Andrea Fraser – Museum Highlights: A Gallery Talk (1989). TATE: Art & Artists. Retrieved from: <a rel="nofollow" class="external free" href="http://www.tate.org.uk/art/artworks/fraser-museum-highlights-a-gallery-talk-t13715">http://www.tate.org.uk/art/artworks/fraser-museum-highlights-a-gallery-talk-t13715</a></li> <li>McCall, V. & Gray, C. (2014). Museums and the ‘New Museology’: Theory, Practice and Organizational Change. Museum Management and Curatorship 29(1): 19-35.</li> <li>Messing with MoMA (2015). Retrieved from: <a rel="nofollow" class="external free" href="https://www.moma.org/interactives/exhibitions/2015/messingwithmoma/">https://www.moma.org/interactives/exhibitions/2015/messingwithmoma/</a></li> <li>Mollica, J. (2017). Send Me SFMOMA. Retrieved from: <a rel="nofollow" class="external free" href="https://www.sfmoma.org/send-me-sfmoma/">https://www.sfmoma.org/send-me-sfmoma/</a></li> <li>Murawska-Muthesius, K. & Piotrowski, P. (2015). From Museum Critique to the Critical Museum. Routledge.</li> <li>National Native American Graves Protection and Repatriation Act. Retrieved from: <a rel="nofollow" class="external free" href="https://www.nps.gov/nagpra/">https://www.nps.gov/nagpra/</a></li> <li>Reciprocal Research Network (2014). Retrieved from: <a rel="nofollow" class="external free" href="https://www.rrncommunity.org/pages/about">https://www.rrncommunity.org/pages/about</a></li> <li>Ryzik, M. (2017). Text for Happiness. Or Sadness. Get Art Back. The New York Times. 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Peter Vergo – The New Museology (1989) <a rel="nofollow" class="external free" href="http://press.uchicago.edu/ucp/books/book/distributed/N/bo3536149.html">http://press.uchicago.edu/ucp/books/book/distributed/N/bo3536149.html</a></li> <li>Van Mensch, P. (1995). Magpies on Mount Helicon. Museum and Community, ICOFOM Study Series, 25, pp. 133 - 138.</li> <li>Vergo, P. (1989). The New Museology. London: Reaktion Books.</li> <li>Wilson, F. (1993). Mining the Museum. Grand Street 44(151-172) <a rel="nofollow" class="external free" href="https://www.jstor.org/stable/25007622?seq=1#page_scan_tab_contents">https://www.jstor.org/stable/25007622?seq=1#page_scan_tab_contents</a></li> <li>Whyte, M. (2016) Wanda Nanibush Named AGO’s First Curator of Indigenous Art. Toronto Star. Retrieved from: <a rel="nofollow" class="external free" href="https://www.thestar.com/entertainment/visualarts/2016/07/22/wanda-nanibush-named-agos-first-curator-of-indigenous-art.html">https://www.thestar.com/entertainment/visualarts/2016/07/22/wanda-nanibush-named-agos-first-curator-of-indigenous-art.html</a></li></ul> <div class="mw-heading mw-heading2"><h2 id="External_links">External links</h2></div> <ul><li><a rel="nofollow" class="external text" href="https://web.archive.org/web/20150615202024/http://www.trc.ca/websites/trcinstitution/File/2015/Findings/Calls_to_Action_English2.pdf">Calls to Action – Truth and Reconciliation Commission of Canada</a></li> <li><a rel="nofollow" class="external text" href="http://www.carmah.berlin/">Centre for Anthropological Research on Museums and Heritage</a></li> <li>Curatorial dreams <a rel="nofollow" class="external autonumber" href="http://cerev.org/curatorialdreams/">[7]</a></li> <li><a rel="nofollow" class="external autonumber" href="http://cerev.org/curatorialdreams/">[8]</a></li> <li><a rel="nofollow" class="external text" href="http://capsl.cerev.ca/">Curating and Public Scholarship Lab</a></li> <li><a rel="nofollow" class="external text" href="https://www.guerrillagirls.com">Guerrilla Girls</a></li> <li><a rel="nofollow" class="external text" href="http://icom.museum/">International Council of Museums</a></li> <li><a rel="nofollow" class="external text" href="http://hennessy.iat.sfu.ca/mcl/about-making-culture-lab/">Making Culture Lab</a></li> <li><a rel="nofollow" class="external text" href="http://museums.in1touch.org/uploaded/web/docs/Task_Force_Report_1994.pdf">Task Force Report on Museums and First Peoples</a></li> <li><a rel="nofollow" class="external text" href="https://web.archive.org/web/20160304082611/http://www.trc.ca/websites/trcinstitution/index.php?p=3">Truth and Reconciliation Commission</a></li> <li><a rel="nofollow" class="external text" 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aria-labelledby="Authority_control_databases_frameless&#124;text-top&#124;10px&#124;alt=Edit_this_at_Wikidata&#124;link=https&#58;//www.wikidata.org/wiki/Q460162#identifiers&#124;class=noprint&#124;Edit_this_at_Wikidata" style="padding:3px"><table class="nowraplinks hlist mw-collapsible autocollapse navbox-inner" style="border-spacing:0;background:transparent;color:inherit"><tbody><tr><th scope="col" class="navbox-title" colspan="2"><div id="Authority_control_databases_frameless&#124;text-top&#124;10px&#124;alt=Edit_this_at_Wikidata&#124;link=https&#58;//www.wikidata.org/wiki/Q460162#identifiers&#124;class=noprint&#124;Edit_this_at_Wikidata" style="font-size:114%;margin:0 4em"><a href="/wiki/Help:Authority_control" title="Help:Authority control">Authority control databases</a> <span class="mw-valign-text-top noprint" typeof="mw:File/Frameless"><a href="https://www.wikidata.org/wiki/Q460162#identifiers" title="Edit this at Wikidata"><img alt="Edit this at Wikidata" src="//upload.wikimedia.org/wikipedia/en/thumb/8/8a/OOjs_UI_icon_edit-ltr-progressive.svg/10px-OOjs_UI_icon_edit-ltr-progressive.svg.png" decoding="async" width="10" height="10" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/en/thumb/8/8a/OOjs_UI_icon_edit-ltr-progressive.svg/15px-OOjs_UI_icon_edit-ltr-progressive.svg.png 1.5x, //upload.wikimedia.org/wikipedia/en/thumb/8/8a/OOjs_UI_icon_edit-ltr-progressive.svg/20px-OOjs_UI_icon_edit-ltr-progressive.svg.png 2x" data-file-width="20" data-file-height="20" /></a></span></div></th></tr><tr><th scope="row" class="navbox-group" style="width:1%">International</th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em"><ul><li><span class="uid"><span class="rt-commentedText tooltip tooltip-dotted" title="Museum techniques"><a rel="nofollow" class="external text" href="http://id.worldcat.org/fast/1030114/">FAST</a></span></span><ul><li><span class="uid"><span class="rt-commentedText tooltip tooltip-dotted" title="Museum studies"><a rel="nofollow" class="external text" href="http://id.worldcat.org/fast/2033919/">2</a></span></span></li></ul></li></ul></div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">National</th><td class="navbox-list-with-group navbox-list navbox-even" style="width:100%;padding:0"><div style="padding:0 0.25em"><ul><li><span class="uid"><span class="rt-commentedText tooltip tooltip-dotted" title="Museumskunde"><a rel="nofollow" class="external text" href="https://d-nb.info/gnd/4170787-4">Germany</a></span></span></li><li><span class="uid"><span class="rt-commentedText tooltip tooltip-dotted" title="Museum techniques"><a rel="nofollow" class="external text" href="https://id.loc.gov/authorities/sh85088722">United States</a></span></span><ul><li><span class="uid"><span class="rt-commentedText tooltip tooltip-dotted" title="Museum studies"><a rel="nofollow" class="external text" href="https://id.loc.gov/authorities/sh2021008605">2</a></span></span></li></ul></li><li><span class="uid"><span class="rt-commentedText tooltip tooltip-dotted" title="Muséologie"><a rel="nofollow" class="external text" href="https://catalogue.bnf.fr/ark:/12148/cb11932553x">France</a></span></span></li><li><span class="uid"><span class="rt-commentedText tooltip tooltip-dotted" title="Muséologie"><a rel="nofollow" class="external text" href="https://data.bnf.fr/ark:/12148/cb11932553x">BnF data</a></span></span></li><li><span class="uid"><span class="rt-commentedText tooltip tooltip-dotted" title="博物館学"><a rel="nofollow" class="external text" href="https://id.ndl.go.jp/auth/ndlna/01201364">Japan</a></span></span></li><li><span class="uid"><span class="rt-commentedText tooltip tooltip-dotted" title="muzejnictví"><a rel="nofollow" class="external text" href="https://aleph.nkp.cz/F/?func=find-c&local_base=aut&ccl_term=ica=ph123051&CON_LNG=ENG">Czech Republic</a></span></span><ul><li><span 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