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07 OCTOBER 2014

Radical Museology / Working the Collection

"Drawing from Claire Bishop's recently published Radical Museology Or What's Contemporary in Museums of Contemporary Art? and taking place against the backdrop of our reading of the Arts Council England Collection, this roundtable focuses on the economic, historiographical, geopolitical and wider societal stakes of public acquisition and collection display. Focusing on museums that offer non–conservative and critically–reflective models.

Participants include Jesús Carrillo (Museo Nacional Centro de Arte Reina Sofia, Madrid), Francesco Manacorda (Artistic Director, Tate Liverpool) and Marta Dziewanska (Museum of Modern Art Warsaw). Chaired by Claire Bishop."

(Chaired by Claire Bishop, 22 May 2014, Nottingham Contemporary)



2014acquisitionsart historyart museumArts Council England • Arts Council England Collection • chronological ordering • Claire Bishop • collection display • collectionsconstellations metaphor • contemporaneity • contemporary artcontemporary art exhibitionscontemporary art museumcontemporary culture • critically-reflective models • Dan Perjovschi • dialectical contemporaneity • Francesco Manacorda • geopolitical • historiographical • Isobel Whitelegg • Jesus Carrillo • Madrid • Marta Dziewanska • Museo Nacional Centro de Arte Reina Sofiamuseologymuseum • Museum of Modern Art Warsaw • museum studies • museumsNottingham Contemporaryperiodisation • permanent collection • presentism • public acquisitions • Reina Sofia • short-termism • Tate Liverpool • The Arcades Projectthematic organisation • Warsaw


Simon Perkins
13 MAY 2011

Connected Histories: digital resources of early modern and 19th century Britain

"Connected Histories brings together a range of digital resources related to early modern and nineteenth century Britain with a single federated search that allows sophisticated searching of names, places and dates, as well as the ability to save, connect and share resources within a personal workspace."

(University of Hertfordshire, University of London, University of Sheffield, 2011)

Fig.1 "The photograph shows the beach at Cromer in Norfolk, which features in Emma (1816) as 'The best of all the sea–bathing places'. A small fishing village then, noted for its crabs, by 1887 the railway had arrived. The pier (which still stands) was built in 1901." Martin (Manuscripts Cataloguer), Caird Library



19th century2011Bodleian LibraryBritainBritish history • British Origins • Connected Histories • conservationcultural heritagecultural representationsdigital heritagedigital resourcesdigitisationearly modern periodEconomic and Social Research Council • eContent • everyday lifefamily historygenealogy • Higher Education Digitisation Service • history • HRI Online Publications • Humanities Research Institute • ICT • Irish Origins • JISC • John Johnson Collection • John Strype • Leverhulme Trust • London Lives • manuscriptmapsmuseologynational cultural heritage online • National Wills Index • nineteenth century • • personal workspace • plates • preservation • printed ephemera • ProQuest • Scots Origins • searchsearch toolshare resources • Stuart London • taxonomyUKUniversity of HertfordshireUniversity of LondonUniversity of NottinghamUniversity of Sheffield


Simon Perkins
09 MARCH 2010

Acquiring new media works

"Museologists face a new reality in our fast–changing high–tech world. Works with technological components pose unfamiliar challenges and require acquisition procedures that differ from traditional practices. Primarily, this means giving careful consideration to the notions of copyright (intellectual property), conservation and artist collaboration prior to the purchase of media–based art.

The Survey of New Media Cataloguing Practices report, produced by the DOCAM Cataloguing Structure Committee, indicates that few museum institutions have established a specific policy for acquiring new media works. Yet a policy of this sort is an important tool: used to assess the characteristics and short–, medium– and long–term conservation and exhibition needs of such works, it can help museums make informed choices when envisaging additions to their collections."



acquisition procedures • acquisitionsadded value • artist collaboration • arts and innovationarts fundingcommercialismconservationcopyrightcreative capitalcreative entrepreneurshipcreative industries • DOCAM • DOCAM Cataloguing Structure Committee • entrepreneurexhibitionfunding • high-tech world • intellectual propertymarket failuremarkets • media-based art • museologymuseumnew media • new media works • patronpolicysocial gainsponsorship • Survey of New Media Cataloguing Practices • value of art


David Rogerson
19 FEBRUARY 2010

Industrial and Social Heritage Accessible Through AHRC Pilot Project

"More than 75,000 intricate lace samples, considered to be of national and international importance, have been placed in a new archive at Nottingham Trent University. The collection – acquired by the university and its forerunners over many years through bequests from lace manufacturers and the lace federation – features many significant items, including some which date back to the 1600s. ...

A new steering group has been formed to support the collection, featuring a range of key academic experts as well as leading figures in lace and museology from the Victoria and Albert Museum in London and The Bowes Museum in County Durham. The group will work to link the archive to other significant collections and will be responsible for future exhibitions, research opportunities and promoting and maintaining the relationship between Nottingham and the lace industry.

The majority of donations to the university's collection were made from the late 19th to the mid–20th Centuries and include single pieces, such as cuffs, bonnets and collars; garments and garment panels. There are items in manufacturers' sample books, photographs of lace from a breadth of sources and collections, and portfolios of machine–made lace. The collection not only includes British designs but also portfolios of lace from Italy, France, Belgium, Switzerland, Holland, Germany, Spain, Portugal and Russia.

The collection is regularly studied and researched by representatives from The Lace Guild, various lace and textile organisations, academic experts and undergraduate and postgraduate students.

Dr Amanda Briggs–Goode, programme leader for Textile Design in Nottingham Trent University's School of Art and Design, said: 'It is important for us to conserve and understand the industrial, social and design heritage that this collection brings, and having an official archive space is the ideal way to achieve this. To date, access to the collection has been limited, but this will help us to form the basis of a professional archive which charts the history of Nottingham lace. ...

A project to pilot a database and make key parts of the lace collection web–accessible has also been recently completed, following funding from the Arts and Humanities Research Council."

(Katy Cowan, 4 February 2010, Creative Boom magazine)



1600s • 17th centuryAHRC • Amanda Briggs-Goode • archiveArts and Humanities Research CouncilBelgium • Bowes Museum • collectionconservationcraftcreative industriesdatabasedecorationdesign • design heritage • fabricFrancegarmentGermanyheritagehistoryHollandindustrial heritageindustrialisationlace • lace collection • lace federation • lace industry • lace manufacturinglace-makingmachine-madematerialmuseologyNottinghamNottingham Trent UniversityNTUpatternPortugalRussia • sample books • School of Art and DesignsearchSpainSwitzerlandtechnologytextile designtextilesUK • Venetian • Victoria and Albert Museumvintagevisual design


Simon Perkins
25 AUGUST 2005

The Dialogic Site: Interculturalism In The Museum

"Over the past decade, notions of the "virtual" museum have arisen within the virtual heritage landscape. The intersection of new museology perspectives with interactive technologies has altered cultural heritage representations and interactions between the museum and visitor. This paper will examine the two–way relationship that can exist between virtual environments and the body within museums, particularly within the Australian Indigenous cultural heritage context. In responding to the conference theme Hybrid Realities: Digital Partners, this study focuses on the intersections between five elements pertaining to the field of virtual heritage: museums – intercultural dialogue – virtual environments – body – indigenous cultural heritage. A main concern of this study is the reconceptualization of museums as sites for intercultural exchange. Based on this idea, a theoretical framework will be proposed for a "dialogic site" that sets up a two–way exchange between the body and museum space. This concept will then be extended by proposing the interfacing of virtual environments and the body as a continuation of the dialogic site. Examined are theories surrounding the new museology, the role of dialogue in generating an intercultural exchange, and application of spatial theories towards constructing meaningful cultural experiences.This study forms the basis of research into best practice in virtual heritage interactive exhibitions. The research is specifically produced for stage one in Australasian CRC for Interaction Design's (ACID) Digital Songlines supervised by Program Manager, James Hills and Indigenous consultant/multimedia designer, Brett Leavy. Digital Songlines will be a digital reconstruction of significant Aboriginal spaces within Australia."
(Mia Thornton, 2005)


AboriginalACIDAustraliaBarker • cultural experience • cultural heritagedialogicdialoguedialogueDigital Songlines (2006)exchangeexhibitionHills • hybrid realities • Indigenous • interactive technologies • interculturalintercultural siteLeavyMia Thorntonmuseologymuseumrepresentationsitevirtualvirtual environmentvirtual heritagevisitor


Mia Thornton

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