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Details the career of Marvette Perez (1961–2013), the first Latina curator at the National Museum of American History. Essay emphasizes her curatorial accomplishments, focusing on her collecting practices including some of the larger and smaller acquisitions that she added to the national collections of the Smithsonian Institution. Large collections discussed include the Teodoro Collection of Puerto Rican History, the Goya Foods Inc. Collection, and the Celia Cruz Collection. Smaller collections mentioned include the Diosa Costello Collection, the Tito Puente Collection, the Mongo Santamaria Collection, and a collection of panos from New Mexico. Archival collections are also referenced such as the Clotilde Arias Collection, Latin Jazz Oral History Program, and the Puerto Rican Division of Community Education. Also mentioned is the prior history of Hispanic collecting in the museum conducted by curator Richard Ahlborn which focused on Spanish settlements in the southwestern United States. [ABSTRACT FROM AUTHOR]

In recent years, museums have become valuable venues for students to develop career awareness outside of school. However, optimizing the educational potential of museums and improving learners' outcomes presents a significant challenge in museum learning design. This study integrates three main game elements—goals, stories, and role-playing—into museum visits to design a Gamified Learning Activity (GLA). To verify the effectiveness of the GLA, we conducted a quasi-experiment with 66 elementary school students at the Handicraft Museum. Using a mixed-methods approach with convergent parallel design, we collected quantitative data from knowledge tests and qualitative data from DAST (Draw-a-Scientist-Test) and interviews for a comprehensive analysis. The results showed that learners who participated in the GLA paid more attention to the details of the handicrafts, appreciated the craftsmen more, and eliminated stereotypes about the age of craftsmen. This indicates that the GLA not only enhances learners' acquisition of museum knowledge but also has a profound impact on their non-cognitive aspects, such as career awareness. [ABSTRACT FROM AUTHOR]

In 2022, Richard Serra installed a massive forged steel column that stood centered and alone in the gallery and whose surface was gouged in a way that resembled bite marks or scars. The gallerist David Zwirner conveyed that the artist had said that this sculpture was his last. Hal Foster's volume of long form interviews with Serra, Conversations about Sculpture (Yale, 2018) serves as a key source as the author explores: What does it mean to bring a career to a close? And what is the relationship between sculpture and death? The essay defines the features of Serra's late style, which played out in a series of forged sculptures ranging from Grief and Reason (for Walter) (2013) to the artist's last work, 2022. These works encompass as set of mnemonic gestures—invocations of the past—that include homages to people of formative intellectual or personal significance; reference to or reengagement with works, propositions, or modes of making from earlier in the artist's career; and the primordial forms and functions of sculpture itself. And in both their literal and affective weight, they invite thoughts of mortality. [ABSTRACT FROM AUTHOR]

Copyright of International Journal for Tourism, Archeology & Hospitality (IJTAH) is the property of Beni Suef University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Whether ground up into medicinal powders or on display during unwrapping parties, in museums or on the silver screen, Egyptian human mummies have captured popular fascination for centuries. This mummy craze, termed mummymania by Egyptologists, has had a lasting influence on public and academic perceptions of mummies in museums. Egyptian mummies, as a result of mummymania, have continued to be merely the focal point of museum collections, valued not as historically significant individuals but for their ability to pique the interest of the public as "objects" of curiosity. To reevaluate how mummies are represented in the museum space, this article evaluates the difficult histories surrounding mummies and their acquisition into museums, drawing on critical heritage and museology studies and using the Egyptian Exhibit at the Redpath Museum as a case study. [ABSTRACT FROM AUTHOR]

Provenance research in museums has traditionally been reactive and focused on singular objects with dubious histories, such as colonial-era acquisitions, Nazi-looted art, and objects with active ownership claims; the 'crimes' we expect to see. But what if what we think we know prevents us from seeing the bigger picture within and across museum collections? We argue that a machine-learning approach to provenance could allow the detection of broader patterns of unethical or even criminal behaviour that are embedded in the relationships underpinning museum collections. To demonstrate the potential of a machine-learning approach, we present a computer-assisted model that predicts plausible patterns and connections, 'leads' or 'hot tips', derived from a dataset of unstructured texts concerning the antiquities trade. Preliminary results have revealed what may have been a multi-decade scheme involving the donation of low-value Latin American antiquities to museums as a form of 'reputation laundering' potentially in advance of criminal fraud. We believe that such patterns could not be identified by an approach to museum provenance that is restricted to known problems within individual institution, demonstrating the need for innovative provenance tools and approaches that consider the complex networks within which museum objects exist. [ABSTRACT FROM AUTHOR]

How do the curators of science and technology collections represent the daily realities of doing science? Through the acquisition of Professor Stephen Hawking's office by the Science Museum, this paper will explore what is involved in making major acquisitions for national collections. How do curators consider what to preserve from the eclectic range of items found in the working spaces of scientists? What do the personal artefacts of a scientist's life represent, and what do acts of curatorial choices say about the narratives that are foregrounded -- and those that are not -- in positioning that life historically? And how do those choices illuminate the considerations involved in the way science and technology is represented in our national collections? By going beyond the glass case, we consider what it takes to bring an object into a collection: the intellectual considerations of how its stories are preserved for a nation and the practical considerations required so that items can even be considered for future display. The paper illuminates the formal and informal networks around scientists' collections, and the processes and judgements that science and technology curators make every day when choosing what could be important for defining our history. Using the Stephen Hawking office as a case study the article explores the representation of scientific practice in museum collections, the relationship of some collections with celebrity and disability, and some of the challenges posed by science and technology acquisitions compared to other types of museum object. The paper explores how knowledge is generated in museum collections, through the act of acquiring a new collection. It asks fundamental questions, which are essential to the fields of museology and science and technology studies, about the contribution to knowledge made by personal scientific objects. It goes beyond the study of collections as artefacts of display in exhibitions and galleries, providing a detailed analysis of a routine but oftenneglected aspect of behind-the-scenes museum work: the acquisition of a collection. Arguing that a large and complex collection is a vital tool for understanding the complexity of science, the paper uses the 'museum as method' (Thomas, 2016) which prioritises simple curatorial questions and the use of the objects in exploration; this enables scholars and curators to respond to material evidence of scientific knowledge, and identify narratives that are prioritised, and others that are obscured, in the historic record. In doing so, it suggests that curators are uniquely placed to provide insights into the roles of human and non-human actors in the construction of scientific knowledge, demonstrating how the Hawking collection allows us to explore the nature of scientific practice, the creation of scientific celebrity, and the potential to give visibility to disability within the history of science whilst de-centring the myth of the scientific genius in museum narratives. [ABSTRACT FROM AUTHOR]

Much has been written about the spectacular naturalistic copper and copper alloy heads of Wúnmọníjẹ̀ Compound, Ilé-Ifẹ̀, Nigeria, which stunned the art world after they were unearthed in 1938, on the cusp of the Second World War. However, little scholarly attention has been afforded to the controversial aftermath of their discovery, when multiple foreign parties endeavoured to collect and export many of them from Nigeria, while legislation to prohibit the export of antiquities was lacking. Drawing on archives from the USA and the UK, this article reveals important details of the collecting of several of the heads in the late colonial period. Coinciding with renewed calls for the restitution of Nigerian cultural patrimony from foreign institutions, it sheds light on the British Museum's acquisition of one such head, the acquisition of two by the American anthropologist William R. Bascom, and the purported export by a German export company, of several heads which remain unaccounted for to this day. [ABSTRACT FROM AUTHOR]

Charles Philippe de Bosset (1773–1845) was a Swiss soldier and British imperial official who established an extensive archaeological and numismatic collection from the Mediterranean region, particularly the Ionian Islands. His collections are now in the British Museum, the Laténium in Neuchâtel and the Musée d'Art et d'Histoire de Neuchâtel. This article establishes the circumstances of the British Museum's acquisition in the early nineteenth century of its part of the de Bosset collection of coins, two bas-reliefs and a bronze. It then considers the process of removing duplicate coins from the British Museum collection through sales and exchanges by an examination of the de Bosset acquisition. Finally, it uses de Bosset's own publication in 1815 of the coins of Cephalonia, Ithaca and Delphi as a case-study to restore archaeological provenance and a catalogue of that part of de Bosset's collection. [ABSTRACT FROM AUTHOR]

The growing outrage over the continued stewardship of artefacts acquired through nefarious means has compelled cultural institutions to explore their role in marginalising cultures through misrepresentation. Indigenous communities around the globe are seeking the repatriation of sacred objects often collected through colonial violence. Though many museums have collaborated with communities to repatriate these artefacts, many have also avoided or refused repatriation requests, leaving communities without recourse. This paper will explore repatriation in the digital world through the lens of Cercle d'Art des Travailleurs de Plantation Congolaise's (CATPC) the quest for the return of an important Balot Pende sculpture from the Virginia Museum of Fine Arts, and whether creating a digital iteration, like an Non-Fungible Token (NFT) of a sacred object, offers a potential activist tool to reclaim an alternate form of ownership when physical repatriation is not available. [ABSTRACT FROM AUTHOR]

Copyright of Ge-Conservación is the property of Instituto del Patrimonio Cultural and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article presents the results of the 'Labour Heritage Thesaurus' project which aimed at applying concepts in the area of anthropology and work history to the practice of cultural institutions. The project was realized in regard to the under-representation of labour in discussion on heritage in Poland. The analyzed initiative consisted in building a glossary for the Museum of Engineering and Technology, Krakow, in order to re-conceptualise its collections and introduce the hitherto omitted contexts. The authors present the objectives of the project, the methods of cooperation, as well as its result in the form of a set of keywords. [ABSTRACT FROM AUTHOR]

Thomas Wilfred (1889–1968) invented an idiosyncratic artform, 'lumia', that projected coloured light onto screens. With these contraptions, Wilfred aimed to expand the concept of art beyond standard media categories. Yet critics and curators historicized lumia within the tradition of painting, and the artist himself adopted a form of museological presentation – the frame – for his works of the 1950s. Close consideration of a work in the holdings of the Metropolitan Museum of Art sheds light on how the disciplinary framework of museums obscures intermedia objects that prompt new approaches to their collection and interpretation. [ABSTRACT FROM AUTHOR]

In this paper, Truthiness, a mixed-media artwork by contemporary artist Andrea Carlson (Grand Portage Ojibwe), is utilized as a case study to illustrate the contexts for Carlson's repeated artistic engagement with "cultural cannibalism." Specifically, in Truthiness, from Carlson's Windigo Series, the artist confronts settler colonizers' historical labeling of Native Americans as "cannibals" and their own past and ongoing cultural cannibalization in the United States. As Carlson notes, this consumption ranges from opportunistic museum acquisitions to the roles of settlers in the 1862 Dakota Uprising. To analyze Carlson's work, an iconographical and semiotics approach centered around the concept of symbolic anthropophagy is taken; as her utilization of many layered references demonstrates, Carlson herself engages in a form of cultural cannibalism through her appropriation and use of readily identifiable symbols and artworks in her work. As a whole, this paper aims to emphasize how, in Truthiness, Carlson flips visually the historical narrative that labeled Indigenous peoples as cannibals to label settler colonizers as windigos, insatiable monsters who consume without consequence. [ABSTRACT FROM AUTHOR]

The Crystal-Wonder Cave System developed in the Western Escarpment of the southern Cumberland Plateau in the Interior Low Plateau karst region of south-central Tennessee, USA is a global hotspot of cave-limited biodiversity. We combined historical literature, museum accessions, and database occurrences with new observations from bio-inventory efforts conducted between 2005 and 2022 to compile an updated list of troglobiotic and stygobiotic biodiversity for the Crystal-Wonder Cave System. The list of cave-limited fauna includes 31 species (23 troglobionts and 8 stygobionts) with 28 and 18 species documented from the Crystal and Wonder caves, respectively, which represents five phyla, ten classes, nineteen orders, and twenty-six families (six arachnids, three springtails, two diplurans, three millipedes, six insects, three terrestrial snails, one flatworm, five crustaceans, and two vertebrates, respectively). The Crystal-Wonder Cave System is the type locality for six species—Anillinus longiceps, Pseudanophthalmus humeralis, P. intermedius, Ptomaphagus hatchi, Tolus appalachius, and Chitrella archeri. The carabid beetle Anillinus longiceps is endemic to the Crystal-Wonder Cave System. Sixteen species are of conservation concern, including twelve taxa with NatureServe conservation ranks of G1–G3. The exceptional diversity of the Crystal-Wonder Cave System has been associated with several factors, including a high dispersal potential of cave fauna associated with expansive karst exposures along the Western Escarpment of the southern Cumberland Plateau, a high surface productivity, and a favorable climate throughout the Pleistocene. [ABSTRACT FROM AUTHOR]

This article seeks to add to our understanding of one of the principal characters in the life of John Keats. Joseph Severn accompanied Keats to Rome and was at his bedside when the poet died. Research for the essay began with the discovery of a painting in 1993. The Infant of the Apocalypse Caught up to Heaven occupied ten years of Severn's life. Its star-crossed history provides an intriguing narrative, epitomising the irreverence towards Severn's stature as an artist. This altarpiece in the Papal Basilica of St Paul outside the Walls, and many other acclaimed paintings by Severn displayed in galleries worldwide, challenge the received wisdom that Severn's fame resulted entirely from his relationship with Keats. Finding the missing painting in Rome thirty years ago initiated this essay. [ABSTRACT FROM AUTHOR]

The article contains a transcription of a new letter recently acquired by Keats-Shelley House, Rome. The letter, written partly by Mary Shelley and partly by her son, Percy Florence, is dated 11 February 1843 from Florence and addressed to Julian Robinson, Percy's Cambridge friend. The Shelleys spent the winter of 1842–3 in Florence in the course of their second continental tour, recounted in Parts II and III of Mary Shelley's Rambles in Germany and Italy, in 1840, 1842, and 1843 (1844). The letter complements the travelogue by offering a glimpse of their daily life abroad as members of the local foreign community. We thus learn of Percy's regular but unenthusiastic attendance at the carnival balls and his lack of interest in female society, to his mother's chagrin. Her portion of the letter further reveals her financial difficulties and strained relationship with Laura Galloni d'Istria, Mrs Mason's daughter, with whom Mary Shelley had been reunited after twenty years. Both mother and son also comment on the much-opposed marriage to Henry Hunt of the daughter of Jane Hogg (formerly Jane Williams), Dina. [ABSTRACT FROM AUTHOR]

This article from the Chiricu Journal explores a series of unusual events and questions surrounding an exhibit at a museum. Visitors are leaving comments and questions about the exhibit, and there are concerns about the audio narration and the whereabouts of a statue. The text includes conversations discussing a disciplinary action hearing for a custodian, a mysterious recording featuring a historical figure, and the potential involvement of various individuals. The conversation also touches on the history of the region and the traditions of the Acoma pueblo. The article concludes with a reflection on cultural traditions and the significance of a dessert called capirotada. [Extracted from the article]

Aristide Maillol est le sculpteur français du xxe siècle le mieux représenté dans les collections américaines. En 1925–1926, une exposition organisée par A. Conger Goodyear fait circuler dans onze villes ses œuvres, qui rejoignent dès lors les musées : Albright Art Gallery, Museum of Modern Art, The Metropolitan Museum of Art… Le présent article retrace le fil de la réception de l’artiste outre-Atlantique et, à partir de l’étude des correspondances, met en lumière le rôle de grandes figures des musées, tels Alfred Barr, Andrew Carnduff Ritchie et John Rewald, notamment par le biais d’expositions, mais aussi des marchands, Joseph Brummer en particulier, qui ont contribué à développer la présence américaine du sculpteur. Ces sources révèlent des négociations parfois difficiles. Elles témoignent aussi du rôle actif, après la mort de Maillol, de Dina Vierny, son dernier modèle puis son ayant droit, qui, en s’appuyant sur des marchands, dont Paul Rosenberg, Klaus Perls et Otto Gerson, développe significativement sa présence dans les collections américaines.

This article analyzes and compares the formation of the precolonial Latin American collections of the National Museum of Ethnology in Leiden and the Tropenmuseum in Amsterdam, both in the Netherlands. Ultimately, this data-driven history of collecting should not only enhance our understanding of the historical processes affecting acquisition, but also give an indication of the extent to which these collections are based on strategic and calculated notions of value employed by museum staff in the acquisition of objects. [ABSTRACT FROM AUTHOR]

This study sought to improve art knowledge by engaging students in the creation of a virtual art museum and re-creating art museums and artworks. To this end, we proposed the Virtual Art Museum Education Program (VAMEP) using Roblox Studio, a metaverse platform. After visiting an actual art museum, students were divided into Architecture, Artwork, Avatar, and Contents teams for collaboration. To verify the activities of VAMEP, the educational effect of virtual art museum production on the acquisition of information about art museums was investigated using a questionnaire that was administered twice, both before and after the activity. It was found that the VAMEP helped acquire information on artists and works, as well as regarding the art museum. Additionally, the use of the metaverse platform not only aided production but also helped produce solutions to technical difficulties and improved production capabilities. This study suggests new possibilities for virtual art museums and arts education using metaverse technology. [ABSTRACT FROM AUTHOR]

In 1948, the Science Museum, London, acquired a drawing by French artist Sébastien Le Clerc entitled The Physical Laboratory of the Académie des Sciences, bequeathed by the chemist and collector George Hugh Gabb. Separated from two other drawings by Le Clerc of the same composition, the drawing has been interpreted as a view of the French Académie des Sciences after its move to the Louvre in 1699. This essay considers the provenance and reception history of the drawing, paying attention to its research and interpretation by Gabb. His comparison of the related unfinished print to Le Clerc's most famous image, L'Académie des Sciences et des Beaux‐Arts, reveals similar employment of instruments and imagery by Le Clerc, showing both the artist and the Académie producing scientific knowledge through art. Gabb's drawing gives one rich example of how we can understand the entwined histories of art and science over time. [ABSTRACT FROM AUTHOR]

Collecting in the South Sea: The voyage of Bruni d'Entrecasteaux, 1791-1794.Tiki: Marquesan art and the Krusenstern expeditionResonant Histories: Pacific artefacts and the voyages of HMS Royalist, 1890-1893 Clark has been extraordinarily successful in tracing the present whereabouts of objects collected by Davis in 1890-93, but although she has been able to establish where and when particular objects were collected, and when and how they were later acquired by particular individuals or institutions, she is unable to say much about I why i they were acquired - by Davis in the first place or by particular curators of particular museums at particular moments. By the time I Resonant Histories i went to press, Clark had identified in fourteen museums around the world the present location of more than half of the 1,481 objects listed by Davis, along with 65 photographs traceable to the voyage. [Extracted from the article]

In 2015, Simone Forti's Dance Constructions, a group of understated, equipment-based performances from 1960–1961, entered the permanent collection of the Museum of Modern Art in New York (MoMA) as the museum's first acquisition of historical dance works. This essay details Forti's arrangements with MoMA for the Dance Construction Huddle, which complicated the already complicated proposition of how to collect and care for dances in a visual art institution. Examined closely, the acquisition process reveals both how the museum transformed Forti's work and how Huddle—and dance more generally—presses back on the institution and its investments in objecthood, singular authorship, and private property. [ABSTRACT FROM AUTHOR]

The Classical Antiquity Collection in the National Museum was recently enriched by the donation of an assemblage of pottery sherds. Following a careful and systematic procedure, it became possible to reconstruct almost an entire vessel. Subsequent analysis revealed that we were dealing with an early South Italian red -figure bell -krater. Its style of painting dates the vase to the early 4th century BC, making it close to the workshop of the Sisyphus Painter. [ABSTRACT FROM AUTHOR]

The illumination critically influences the visual appreciation of paintings. Several studies suggest that daylight with a correlated color temperature (CCT) around 5,000 K is optimal for visual appreciation of paintings by occidental viewers. It is unclear, however, how much cultural or geographic factors influence optimal lighting. The aim of this work was to investigate whether preferred lighting is influenced by cultural or geographic factors by comparing occidental and oriental viewers' preferences in exact the same experimental conditions. The stimuli for the experiment were colorimetrically calibrated images of the paintings synthetized from hyperspectral imaging data. Of the 42 paintings tested, abstract and figurative, 32 were from occidental painters and 10 from oriental painters. In the experiment, observers could change the CCT of daylight illumination in the range 3,600 K–25,000 K and their task was to select the one producing the best subjective visual impression for each painting. Stimuli were displayed on calibrated CRT monitors, 19 Japanese observers carried out the experiment in Japan and 16 Portuguese observers carried out the experiment in Portugal. Consistently with published data, Portuguese observers preferred, on average, daylight with a CCT a little above 5,000 K. Crucially, Japanese observers systematically required a significantly higher CCT. The data suggests that cultural or geographic factors critically influence optimal lighting for paintings. [ABSTRACT FROM AUTHOR]

Exhibitions, galleries, and publications of the Lahore Museum represented the national history, interests, and ideology of Pakistani State between the 1960s and 1990s. Initially, the State did not take interest in the patronising and financing the Museum but from the 1960s onwards, various administrators began to use the Museum as a space where the State could represent its identity, ideology and unique history. Parallel to the process of Islamization in Pakistan, initially the Museum administrators in the 1970s, and then other State institutions in the 1980s and 1990s began to take keen interest in the ideologically motivated acquisitions and displays of the Museum. [ABSTRACT FROM AUTHOR]

Copyright of Internationales Archiv für Sozialgeschichte der deutschen Literatur is the property of De Gruyter and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)