Do Subaltern Artifacts Belong in Art Museums?

Gaskell, Ivan; Eaton, Anthony; Young, James O.; Brunk, Conrad G.

doi:10.1002/9781444311099.ch10

Cited by 9 publications

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“…Here are three suggestions. First, encourage recent experiments in cultivating relations between museums and claimants to their holdings (Eaton & Gaskell 2009;Smith & Waterton 2009: 103-18). Second, undertake more agreements such as the British Museum's with China (2006)(2007)(2008)(2009)) -Assyrian 'treasures' from London to Shanghai for 'terracotta warriors' and bronzes to London (the Chinese exhibitions were shown on the Continent too).…”

Section: John Bennetmentioning

confidence: 99%

James Cuno. Who owns Antiquity? Museums and the battle over our ancient heritage. xl+228 pages, 6 illustrations. 2008. Princeton (NJ) & Oxford: Princeton University Press; 978-0-691-13712-4 hardback $24.95.

James¹

2009

Antiquity

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Section: John Bennetmentioning

confidence: 99%

James Cuno. Who owns Antiquity? Museums and the battle over our ancient heritage. xl+228 pages, 6 illustrations. 2008. Princeton (NJ) & Oxford: Princeton University Press; 978-0-691-13712-4 hardback $24.95.

James¹

2009

Antiquity

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“…Es decir, si el arte público como una categoría en la historia del arte La importancia de cuestionar cómo y desde dónde interpretar estas prácticas de resistencia de los distintos feminismos, radica en que permite incorporarlas dentro de las narrativas hegemónicas de la historia del arte desde una perspectiva feminista, pero además da pie para analizar su relevancia y los riesgos que puede tener incluirlas dentro del museo. Frente a Anne Eaton e Ivan Gaskell, quienes argumentan que, al menos en el caso de artefactos subalternos (y podríamos extenderlo a otros artefactos que no están incluidos en las narrativas hegemónicas) el museo no los descontextualiza en la medida en que "los artefactos son promiscuos" y "se mueven dentro de esferas culturales, tomando nuevos significados y funciones sin comprometer su identidad" (Eaton & Gaskell, 2009), las iconocasias y los registros de las mismas pueden volverse estériles. La incorporación de las distintas formas de iconoclasia como documento u objeto, así como los registros de arte público, corre el riesgo de reducir su papel a una mera función informativa, dejando de lado las implicaciones políticas que tiene la protesta detrás de la iconoclasia, así como la dimensión política del arte público, en tanto que la función narrativa del museo y la exposición es reducida.…”

Section: Entre El Vandalismo Y La Iconoclasiaunclassified

Arte y feminismos en el espacio público: Nuevas metodologías y genealogías

Argüello Manresa,

De la Rosa

2024

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La historia reciente en México no puede entenderse sin la tensión existente entre una redefinición y disputa por el espacio público. En un contexto de violencia necropatriarcal, donde los cuerpos feminizados son vulnerables, el espacio público se ha convertido en una zona ambivalente, entre el peligro que representa y la necesidad de una reapropiación que confronta directamente el discurso oficial, histórico, político y social. En este trabajo buscamos exponer expresiones y acciones artísticas en el espacio público en México por medio de un acercamiento capaz de visibilizar producciones y actualizaciones de diálogos intergeneracionales. A partir de una revisión de conceptos específicos y de estrategias concretas, pretendemos exhibir formas de acercamiento y lectura a procesos político-estéticos característicos por su condición crítica y dinámica. Buscamos trazar y definir una metodología de estudio a través de la revisión crítica y analítica de estrategias de intervención en el espacio público por medio del trabajo de artistas como Mónica Mayer e Alma Camelia, o colectivas como Anti-Monumenta, Brillantinas con Glitter y proyectos como El mural que debió ser.

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“…I use the more inclusive subaltern because it captures the feature that is relevant to this inquiry: the systematic and persistent subordination of the group in question. I follow the practice adopted by A. W. Eaton and myself in our chapter, “Do Subaltern Artifacts Belong in Art Museums?” The Ethics of Cultural Appropriation . Ed.…”

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confidence: 99%

Museums and Philosophy – Of Art, and Many Other Things Part I

Gaskell¹

2012

Philosophy Compass

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This two‐part article examines the very limited engagement by philosophers with museums, and proposes analysis under six headings: cultural variety, taxonomy, and epistemology in Part I, and teleology, ethics, and therapeutics and aesthetics in Part II. The article establishes that fundamental categories of museums established in the 19th century – of art, of anthropology, of history, of natural history, of science and technology – still persist. Among them, it distinguishes between hegemonic (predominantly Western) and subaltern (minority or Indigenous) museums worldwide. It argues that relations between hegemonic and subaltern museums are often agonistic, and are compromised by claims of universalism on the part of proponents of the former. The article observes that most discussion of museums focuses exclusively and misleadingly on their public exhibition function, and contends that scholarship – not exhibition – is central to all museums. However, that predominantly taxonomic scholarship, while innovative and central to a dominant epistemology based on the observation of tangible things in the 19th century, was compromised by the epistemic shift to abstraction and experimentation in the 20th, which resulted in a loss of initiative and authority. Although epistemological changes currently in progress favor a renewed attention to tangible things as complex matrices to which museums ought to contribute significantly, the fundamental taxonomy of museums by collection type is a clog on the ability of museum scholars to engage with and themselves produce big ideas. In order to function well as sites of scholarship in the future, museums will have to be far more adaptable and attentive to a wider range of things and ideas (including Indigenous ideas incompatible with Western assumptions) than their existing collection divisions permit.

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Do Subaltern Artifacts Belong in Art Museums?

Cited by 9 publications

References 0 publications

James Cuno. Who owns Antiquity? Museums and the battle over our ancient heritage. xl+228 pages, 6 illustrations. 2008. Princeton (NJ) & Oxford: Princeton University Press; 978-0-691-13712-4 hardback $24.95.

James Cuno. Who owns Antiquity? Museums and the battle over our ancient heritage. xl+228 pages, 6 illustrations. 2008. Princeton (NJ) & Oxford: Princeton University Press; 978-0-691-13712-4 hardback $24.95.

Arte y feminismos en el espacio público: Nuevas metodologías y genealogías

Museums and Philosophy – Of Art, and Many Other Things Part I

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