International Journal of Museum Management and Curatorship, Mar 1, 1990
Curatorship still lacks a professional ritual, a defined canon of knowledge and skills, and it de... more Curatorship still lacks a professional ritual, a defined canon of knowledge and skills, and it derives no sense of assurance from a purely professional licensing authority with disciplinary powers. .. Why is it that curatorship still lacks that sense of corporate unity which is the enviable source of the confidence and independence enjoyed in other walks of life? Anthony Duggan (1969)'
Abstract With the opening of architect Daniel Libeskind's Crystal extension in 2007, the Roya... more Abstract With the opening of architect Daniel Libeskind's Crystal extension in 2007, the Royal Ontario Museum invites reconsideration of the official history that dates it to 1905. Campus museum efforts began with museum plans of the 1820s, collections formation in the 1840s, and the purpose-built museum opened in 1860, modeled on United Kingdom examples. Although the museum ended in a fire in February 1890, it left a museum legacy that brought about the partnership of the province and university that resulted in the ROM legislation of 1912. In this tale, the role of the educational museum is raised as an missing part of the Canadian museum story; imported from Europe, they start early in the history of colonial settlement and need to be considered in how museums have been and are still being articulated as pedagogical and civic locations of collections, display, and cultural encounter.
Fontanus from the collections of McGill University, 1990
Au c o w s des vingt ans u la jonction des deux siecles, l'activitk scientifique a subi une trans... more Au c o w s des vingt ans u la jonction des deux siecles, l'activitk scientifique a subi une transformation radicale qui a modifie le lieu oh elle s'exerce, le muske faisant place au laboratoire. I1 a donc fallu redefinir les objectifs et le r6le des muskes scientifiques pour en justifier l'existence. C'est ainsi que certains musees ont mis surpied des programmes s'adressant a un public non scientifique, lesquels se sont souvent revklks incompatibles avec le r6le universitaire ou scientifique des muskes. De plus, le soutien et le financement apportks par l'ktablissement ont souvent laissea dksirer. L'histoire du musee Redpath sous Padministration de E. LionelJudah (1 925-1 941) et de Alice E. Johannsen (1 941-1 97 1) illustre fort bien I'e'volution difficile des muskes scientifiques. A ce titre, le muske Redpath occupe une place de premier plan dans l'histoire des muskes scientifiques quebkcois au XX' siecle.
... In 1781 he tried to sell it again, with no luck. In 1784, an Act of Parliament permitted him ... more ... In 1781 he tried to sell it again, with no luck. In 1784, an Act of Parliament permitted him to sell the contents by lottery but he only sold 8,000 out of 36,000 tickets and died two years later, bitter and poorer. The 1786 lottery winner ...
Given ICTOP's work on revising the curriculum guide using the competencies approach (2000-2008), ... more Given ICTOP's work on revising the curriculum guide using the competencies approach (2000-2008), the author asks whether it is possible to reflect some of the issues and conceptual underpinnings that are at play in the discourse of museology/museum studies as a field of study and pedagogy when designing curriculum when taking the competencies approach. Until we address this question, ICTOP's work will have little relevance for the design of syllabi/curriculum by post-secondary institutions. This presentation lays out some of the professional issues underlying and the role for critical reflexive professionalism which can bridge theory and practice, competencies and epistemological knowledge and s how a way forward. Then it moves to address some of the territories where critical discussion is at work that would extend the curriculum discussions of ICTOP, while pointing to some developments that offer a museology of possibilities. 1 A version of this paper was given at the July 2009 "Museum Studies Borderlands: Perspective son the State of the Field,‖Museology at the Beginning of the 3 rd Millennium: Theory and Practice. Brno, Czech Republic.
Given ICTOP‘s work on revising the curriculum guide using the competencies approach (2000-2008), ... more Given ICTOP‘s work on revising the curriculum guide using the competencies approach (2000-2008), the author asks whether it is possible to reflect some of the issues and conceptual underpinnings that are at play in the discourse of museology/museum studies as a field of study and pedagogy when designing curriculum when taking the competencies approach. Until we address this question, ICTOP‘s work will have little relevance for the design of syllabi/curriculum by post-secondary institutions. This presentation lays out some of the professional issues underlying and the role for critical reflexive professionalism which can bridge theory and practice, competencies and epistemological knowledge and s how a way forward. Then it moves to address some of the territories where critical discussion is at work that would extend the curriculum discussions of ICTOP, while pointing to some developments that offer a museology of possibilities.
Museums are a worthy, if untapped, source of material evidence suitable for academic study. Like ... more Museums are a worthy, if untapped, source of material evidence suitable for academic study. Like any other evidential source, museum material collections require conscious study of the methodological problems of their use. In this article, the author discusses the place of museum evidence in the spectrum of types of evidence. Then, an attempt is made to suggest a model for the study of the museum collections, their history, their formation and museum life alterations, in order to test the collections' suitability to research questions or to assist in the reformulation of research questions suitable to museum evidence. In particular, methods of material science investigation are discussed for future interdisciplinary work for museums. Resume Les musees sont une source precieuse, bien que non exploitee, d'objets-temoins convenant a une etude savante. Comme n'importe quelle autre source de cette nature, les collections materielles des musees appellent un examen raisonne des...
Au c o w s des vingt ans u la jonction des deux siecles, l'activitk scientifique a subi une trans... more Au c o w s des vingt ans u la jonction des deux siecles, l'activitk scientifique a subi une transformation radicale qui a modifie le lieu oh elle s'exerce, le muske faisant place au laboratoire. I1 a donc fallu redefinir les objectifs et le r6le des muskes scientifiques pour en justifier l'existence. C'est ainsi que certains musees ont mis surpied des programmes s'adressant a un public non scientifique, lesquels se sont souvent revklks incompatibles avec le r6le universitaire ou scientifique des muskes. De plus, le soutien et le financement apportks par l'ktablissement ont souvent laissea dksirer. L'histoire du musee Redpath sous Padministration de E. LionelJudah (1 925-1 941) et de Alice E. Johannsen (1 941-1 97 1) illustre fort bien I'e'volution difficile des muskes scientifiques. A ce titre, le muske Redpath occupe une place de premier plan dans l'histoire des muskes scientifiques quebkcois au XX' siecle.
In recent decades, communities around the world have been reacting to the forces of globalization... more In recent decades, communities around the world have been reacting to the forces of globalization by re-focusing on the local, leading to the democratization of culture, heritage, and related concepts. By attempting to reconnect locals with their own sense of belonging, to reinvigorate a pride of place, and to foster wellbeing, communities have increasingly and successfully turned to features that make their local history, heritage, and environment unique or distinctive. In turn, democratization processes have led to sustainable forms of economic and community development through ecomuseums and other examples of community-engaged museums. This paper aims to deepen our understanding of relevant community-based culture and heritage initiatives by reflecting on the development of ecomuseums in Canada and the USA. As part of the larger museum community, ecomuseums tend to be accessible entities that are not affiliated with political or other convictions or viewpoints. This makes them uniquely positioned to foster creative change and adaptation aimed at sustainability, yet their evolution in North America has not been examined from this perspective. To address this gap, this paper will highlight the Haute-Beauce Ecomuseum in Québec and the Ak-Chin Him Dak Ecomuseum in Arizona, which have long histories as North American ecomuseums and represent two very different cultural and geographic contexts. We also reflect on the history of ecomuseums in Canada, and their recent emergence in the Canadian province of Saskatchewan.
Given ICTOP's work on revising the curriculum guide using the competencies approach (2000)(2001)(... more Given ICTOP's work on revising the curriculum guide using the competencies approach (2000)(2001)(2002)(2003)(2004)(2005)(2006)(2007)(2008), the author asks whether it is possible to reflect some of the issues and conceptual underpinnings that are at play in the discourse of museology/museum studies as a field of study and pedagogy when designing curriculum when taking the competencies approach. Until we address this question, ICTOP's work will have little relevance for the design of syllabi/curriculum by post-secondary institutions. This presentation lays out some of the professional issues underlying and the role for critical reflexive professionalism which can bridge theory and practice, competencies and epistemological knowledge and s how a way forward. Then it moves to address some of the territories where critical discussion is at work that would extend the curriculum discussions of ICTOP, while pointing to some developments that offer a museology of possibilities.
Material Culture Review Revue De La Culture Materielle, Jun 6, 1990
Les musées sont une source précieuse, bien que non exploitée, d'objets-témoins convenant à une ét... more Les musées sont une source précieuse, bien que non exploitée, d'objets-témoins convenant à une étude savante. Comme n'importe quelle autre source de cette nature, les collections matérielles des musées appellent un examen raisonné des problèmes méthodologiques que pose leur utilisation. Dans cet article, l'auteur examine la place qu'occupent les pièces de musées dans la gamme générale des objetstémoins. Il propose ensuite un modèle pour l'étude des collections de musées, de leur histoire, de leur formation et des changements qu'elles ont subis, afin de déterminer dans quelle mesure elles peuvent être utilisées pour chercher réponse à certaines questions ou faciliter la reformulation des questions que le chercheur doit se poser face aux pièces de musées. L'auteur analyse en particulier les méthodes d'étude de la culture matérielle qui pourraient être utilisées dans de futurs travaux interdisciplinaires pour les musées.
International Journal of Museum Management and Curatorship, Mar 1, 1990
Curatorship still lacks a professional ritual, a defined canon of knowledge and skills, and it de... more Curatorship still lacks a professional ritual, a defined canon of knowledge and skills, and it derives no sense of assurance from a purely professional licensing authority with disciplinary powers. .. Why is it that curatorship still lacks that sense of corporate unity which is the enviable source of the confidence and independence enjoyed in other walks of life? Anthony Duggan (1969)'
Abstract With the opening of architect Daniel Libeskind's Crystal extension in 2007, the Roya... more Abstract With the opening of architect Daniel Libeskind's Crystal extension in 2007, the Royal Ontario Museum invites reconsideration of the official history that dates it to 1905. Campus museum efforts began with museum plans of the 1820s, collections formation in the 1840s, and the purpose-built museum opened in 1860, modeled on United Kingdom examples. Although the museum ended in a fire in February 1890, it left a museum legacy that brought about the partnership of the province and university that resulted in the ROM legislation of 1912. In this tale, the role of the educational museum is raised as an missing part of the Canadian museum story; imported from Europe, they start early in the history of colonial settlement and need to be considered in how museums have been and are still being articulated as pedagogical and civic locations of collections, display, and cultural encounter.
Fontanus from the collections of McGill University, 1990
Au c o w s des vingt ans u la jonction des deux siecles, l'activitk scientifique a subi une trans... more Au c o w s des vingt ans u la jonction des deux siecles, l'activitk scientifique a subi une transformation radicale qui a modifie le lieu oh elle s'exerce, le muske faisant place au laboratoire. I1 a donc fallu redefinir les objectifs et le r6le des muskes scientifiques pour en justifier l'existence. C'est ainsi que certains musees ont mis surpied des programmes s'adressant a un public non scientifique, lesquels se sont souvent revklks incompatibles avec le r6le universitaire ou scientifique des muskes. De plus, le soutien et le financement apportks par l'ktablissement ont souvent laissea dksirer. L'histoire du musee Redpath sous Padministration de E. LionelJudah (1 925-1 941) et de Alice E. Johannsen (1 941-1 97 1) illustre fort bien I'e'volution difficile des muskes scientifiques. A ce titre, le muske Redpath occupe une place de premier plan dans l'histoire des muskes scientifiques quebkcois au XX' siecle.
... In 1781 he tried to sell it again, with no luck. In 1784, an Act of Parliament permitted him ... more ... In 1781 he tried to sell it again, with no luck. In 1784, an Act of Parliament permitted him to sell the contents by lottery but he only sold 8,000 out of 36,000 tickets and died two years later, bitter and poorer. The 1786 lottery winner ...
Given ICTOP's work on revising the curriculum guide using the competencies approach (2000-2008), ... more Given ICTOP's work on revising the curriculum guide using the competencies approach (2000-2008), the author asks whether it is possible to reflect some of the issues and conceptual underpinnings that are at play in the discourse of museology/museum studies as a field of study and pedagogy when designing curriculum when taking the competencies approach. Until we address this question, ICTOP's work will have little relevance for the design of syllabi/curriculum by post-secondary institutions. This presentation lays out some of the professional issues underlying and the role for critical reflexive professionalism which can bridge theory and practice, competencies and epistemological knowledge and s how a way forward. Then it moves to address some of the territories where critical discussion is at work that would extend the curriculum discussions of ICTOP, while pointing to some developments that offer a museology of possibilities. 1 A version of this paper was given at the July 2009 "Museum Studies Borderlands: Perspective son the State of the Field,‖Museology at the Beginning of the 3 rd Millennium: Theory and Practice. Brno, Czech Republic.
Given ICTOP‘s work on revising the curriculum guide using the competencies approach (2000-2008), ... more Given ICTOP‘s work on revising the curriculum guide using the competencies approach (2000-2008), the author asks whether it is possible to reflect some of the issues and conceptual underpinnings that are at play in the discourse of museology/museum studies as a field of study and pedagogy when designing curriculum when taking the competencies approach. Until we address this question, ICTOP‘s work will have little relevance for the design of syllabi/curriculum by post-secondary institutions. This presentation lays out some of the professional issues underlying and the role for critical reflexive professionalism which can bridge theory and practice, competencies and epistemological knowledge and s how a way forward. Then it moves to address some of the territories where critical discussion is at work that would extend the curriculum discussions of ICTOP, while pointing to some developments that offer a museology of possibilities.
Museums are a worthy, if untapped, source of material evidence suitable for academic study. Like ... more Museums are a worthy, if untapped, source of material evidence suitable for academic study. Like any other evidential source, museum material collections require conscious study of the methodological problems of their use. In this article, the author discusses the place of museum evidence in the spectrum of types of evidence. Then, an attempt is made to suggest a model for the study of the museum collections, their history, their formation and museum life alterations, in order to test the collections' suitability to research questions or to assist in the reformulation of research questions suitable to museum evidence. In particular, methods of material science investigation are discussed for future interdisciplinary work for museums. Resume Les musees sont une source precieuse, bien que non exploitee, d'objets-temoins convenant a une etude savante. Comme n'importe quelle autre source de cette nature, les collections materielles des musees appellent un examen raisonne des...
Au c o w s des vingt ans u la jonction des deux siecles, l'activitk scientifique a subi une trans... more Au c o w s des vingt ans u la jonction des deux siecles, l'activitk scientifique a subi une transformation radicale qui a modifie le lieu oh elle s'exerce, le muske faisant place au laboratoire. I1 a donc fallu redefinir les objectifs et le r6le des muskes scientifiques pour en justifier l'existence. C'est ainsi que certains musees ont mis surpied des programmes s'adressant a un public non scientifique, lesquels se sont souvent revklks incompatibles avec le r6le universitaire ou scientifique des muskes. De plus, le soutien et le financement apportks par l'ktablissement ont souvent laissea dksirer. L'histoire du musee Redpath sous Padministration de E. LionelJudah (1 925-1 941) et de Alice E. Johannsen (1 941-1 97 1) illustre fort bien I'e'volution difficile des muskes scientifiques. A ce titre, le muske Redpath occupe une place de premier plan dans l'histoire des muskes scientifiques quebkcois au XX' siecle.
In recent decades, communities around the world have been reacting to the forces of globalization... more In recent decades, communities around the world have been reacting to the forces of globalization by re-focusing on the local, leading to the democratization of culture, heritage, and related concepts. By attempting to reconnect locals with their own sense of belonging, to reinvigorate a pride of place, and to foster wellbeing, communities have increasingly and successfully turned to features that make their local history, heritage, and environment unique or distinctive. In turn, democratization processes have led to sustainable forms of economic and community development through ecomuseums and other examples of community-engaged museums. This paper aims to deepen our understanding of relevant community-based culture and heritage initiatives by reflecting on the development of ecomuseums in Canada and the USA. As part of the larger museum community, ecomuseums tend to be accessible entities that are not affiliated with political or other convictions or viewpoints. This makes them uniquely positioned to foster creative change and adaptation aimed at sustainability, yet their evolution in North America has not been examined from this perspective. To address this gap, this paper will highlight the Haute-Beauce Ecomuseum in Québec and the Ak-Chin Him Dak Ecomuseum in Arizona, which have long histories as North American ecomuseums and represent two very different cultural and geographic contexts. We also reflect on the history of ecomuseums in Canada, and their recent emergence in the Canadian province of Saskatchewan.
Given ICTOP's work on revising the curriculum guide using the competencies approach (2000)(2001)(... more Given ICTOP's work on revising the curriculum guide using the competencies approach (2000)(2001)(2002)(2003)(2004)(2005)(2006)(2007)(2008), the author asks whether it is possible to reflect some of the issues and conceptual underpinnings that are at play in the discourse of museology/museum studies as a field of study and pedagogy when designing curriculum when taking the competencies approach. Until we address this question, ICTOP's work will have little relevance for the design of syllabi/curriculum by post-secondary institutions. This presentation lays out some of the professional issues underlying and the role for critical reflexive professionalism which can bridge theory and practice, competencies and epistemological knowledge and s how a way forward. Then it moves to address some of the territories where critical discussion is at work that would extend the curriculum discussions of ICTOP, while pointing to some developments that offer a museology of possibilities.
Material Culture Review Revue De La Culture Materielle, Jun 6, 1990
Les musées sont une source précieuse, bien que non exploitée, d'objets-témoins convenant à une ét... more Les musées sont une source précieuse, bien que non exploitée, d'objets-témoins convenant à une étude savante. Comme n'importe quelle autre source de cette nature, les collections matérielles des musées appellent un examen raisonné des problèmes méthodologiques que pose leur utilisation. Dans cet article, l'auteur examine la place qu'occupent les pièces de musées dans la gamme générale des objetstémoins. Il propose ensuite un modèle pour l'étude des collections de musées, de leur histoire, de leur formation et des changements qu'elles ont subis, afin de déterminer dans quelle mesure elles peuvent être utilisées pour chercher réponse à certaines questions ou faciliter la reformulation des questions que le chercheur doit se poser face aux pièces de musées. L'auteur analyse en particulier les méthodes d'étude de la culture matérielle qui pourraient être utilisées dans de futurs travaux interdisciplinaires pour les musées.
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