R e s u m o O publico mais dificil de conquistar para um museu universitario é, por vezes, aquele... more R e s u m o O publico mais dificil de conquistar para um museu universitario é, por vezes, aquele que se encontra mais proximo os estudantes. Com efeito, o tempo dos 50.000 estudantes da Universidade do Minnesota é escasso: para além do estudo e das aulas, muitos ainda trabalham e vivem em grandes areas urbanas vizinhas. Para além disso, alguns estudos revelam que a maioria nâo é visitante habitual de museùs à entrada na universidade. O Museu de Arte Frederick R. Weisman é visitado anualmente por cerca de 150.ooo estudantes e pretende atingir todos os estudantes e nâo apenas os de arte. Os seus programas educacionais incluem a colaboraçâo com organizaçôes e associaçôes de estudantes, a promoçâo de visitas e aulas das mais diversas disciplinas nas suas instalaçôes, o convite a estudantes para eventos sociais que passem igualmente por contemplar obras de arte, a colaboraçâo com departamentos a priori distantes (corno os de engenharia quìmica e de ciências dos materials) para a realiza...
... and which had been permanently stored in the basement.1 How did the acquisitions process redu... more ... and which had been permanently stored in the basement.1 How did the acquisitions process reduce Bonney's life to ... Informed by feminist theory, Louise Lawler, Barbara Kruger, Sophie Calle, and others challenged gendered formulas of representation, including the concept of ...
The Weisman Art Museum holds a large collection of Mimbres painted pottery (1000 to 1150), result... more The Weisman Art Museum holds a large collection of Mimbres painted pottery (1000 to 1150), resulting from an excavation in Southern New Mexico by university faculty and students from 1929 to 1931. Pottery, jewelry, ceramic miniatures, animal bone awls, and other tools were transferred from the Department of Anthropology in 1992. Today, no one in anthropology studies this collection. And, in the decades since the excavation, both the science of archaeology and perceptions about Native Americans' control of their cultural heritage have changed considerably. The archaeologists who excavated the graves in which these pots were found had no doubts about the validity of their actions. Today we are not so sure. Change has prompted questions including: should these pots have been unearthed at all; should they be reburied? The federal Native American Graves Protection Act (NAGPRA, 1990) requires museums to return grave goods or sacred objects to native peoples who claim them and can prove they are the legitimate descendants of the makers. These pots, and many other objects made by ancient people around the globe, have been enshrined in climate-controlled display cases, watched by guards and security cameras, allowing everyone to see them while protecting them from the ravages of nature and man. They are no longer where their makers intended, covered with earth and hidden from view, acted upon by time and the elements. University museums are often left with the result of past excavations that would be handled quite differently today. The question is not how to make these objects relevant to the public-they are greatly admired by our visitors-but how to fill our mission of education while respecting the original makers' intentions and the desires of their descendants.
R e s u m o O publico mais dificil de conquistar para um museu universitario é, por vezes, aquele... more R e s u m o O publico mais dificil de conquistar para um museu universitario é, por vezes, aquele que se encontra mais proximo os estudantes. Com efeito, o tempo dos 50.000 estudantes da Universidade do Minnesota é escasso: para além do estudo e das aulas, muitos ainda trabalham e vivem em grandes areas urbanas vizinhas. Para além disso, alguns estudos revelam que a maioria nâo é visitante habitual de museùs à entrada na universidade. O Museu de Arte Frederick R. Weisman é visitado anualmente por cerca de 150.ooo estudantes e pretende atingir todos os estudantes e nâo apenas os de arte. Os seus programas educacionais incluem a colaboraçâo com organizaçôes e associaçôes de estudantes, a promoçâo de visitas e aulas das mais diversas disciplinas nas suas instalaçôes, o convite a estudantes para eventos sociais que passem igualmente por contemplar obras de arte, a colaboraçâo com departamentos a priori distantes (corno os de engenharia quìmica e de ciências dos materials) para a realiza...
... and which had been permanently stored in the basement.1 How did the acquisitions process redu... more ... and which had been permanently stored in the basement.1 How did the acquisitions process reduce Bonney's life to ... Informed by feminist theory, Louise Lawler, Barbara Kruger, Sophie Calle, and others challenged gendered formulas of representation, including the concept of ...
The Weisman Art Museum holds a large collection of Mimbres painted pottery (1000 to 1150), result... more The Weisman Art Museum holds a large collection of Mimbres painted pottery (1000 to 1150), resulting from an excavation in Southern New Mexico by university faculty and students from 1929 to 1931. Pottery, jewelry, ceramic miniatures, animal bone awls, and other tools were transferred from the Department of Anthropology in 1992. Today, no one in anthropology studies this collection. And, in the decades since the excavation, both the science of archaeology and perceptions about Native Americans' control of their cultural heritage have changed considerably. The archaeologists who excavated the graves in which these pots were found had no doubts about the validity of their actions. Today we are not so sure. Change has prompted questions including: should these pots have been unearthed at all; should they be reburied? The federal Native American Graves Protection Act (NAGPRA, 1990) requires museums to return grave goods or sacred objects to native peoples who claim them and can prove they are the legitimate descendants of the makers. These pots, and many other objects made by ancient people around the globe, have been enshrined in climate-controlled display cases, watched by guards and security cameras, allowing everyone to see them while protecting them from the ravages of nature and man. They are no longer where their makers intended, covered with earth and hidden from view, acted upon by time and the elements. University museums are often left with the result of past excavations that would be handled quite differently today. The question is not how to make these objects relevant to the public-they are greatly admired by our visitors-but how to fill our mission of education while respecting the original makers' intentions and the desires of their descendants.
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