Museums Issues With Open-Air Photographs

Within such assemblage museums and their unsettled artifacts can be situated as affect- image (83). They are not fixed and static places which contain unsettled objects. They can depart from the common sense world and organize systems that control appearance and relationships and suggest the future. Museums select what they represent and; consequently, excludes parts of history according to their interests. This resembles the white policy which stresses and enlarges a specific trait in the colonized and excludes any implication of positive traits.

In the act of understanding the diverse state of white settlement’s immense impingement on contemporary indigenous art practice; questions of identity and culture begin to arise. The historical legacy of indigenous art emphasises the cardinal importance for the continued tradition through the indigenous community, the contemporary indigenous artist acting as a holder of the continued practice. Though modernity, the artist is left to

Rupkatha Journal on Interdisciplinary Studies in Humanities, vol. 12, No. 1 -. 1, 2020, pp. 113-120. 1-14, doi: 10.21659/rupkatha.v12n1.01. Date of Access: 12 Apr. 2024. The. Martnez-Falquina, Silvia. “

When we look at this piece, we tend to see the differences in ways a subject can be organized and displayed. This assemblage by Betye Saar shows us how using different pieces of medium can bring about the wholeness of the point of view in which the artist is trying to portray. So in part, this piece speaks about stereotyping and how it is seen through the eyes of an artist.

The second picture I chose called Laxman Singh, Rajasthan, 2002 I felt that this man is a prisoner in his own world because he has no legs to walk but prosthetics. I believe that the photographic approach of contemporary photojournalists have changed with both the idea and the technique since Gardner’s era. There is more history going on every day and there are so many stories that can be told that each photojournalist can use different techniques and ideas to tell that story to a viewer.

I hope to see museums make more concerted efforts to educate the public. Too many exhibits are of the “passive, didactic looking” than like the engaging Object Stories program (Dartt, Murawski). Exhibits should seek to tell untold narratives, and programs should be places of communication and cross-cultural encounters. For too long, difficult confrontations have been avoided, both inside the museum, and by dominant communities

Photography plays an important role in reflecting a society. In the article "Looking at discipline, looking at labor", Eric Margolis talks about the representations of the photos of the Indian boarding schools in the US. Photographs are used to demonstrate the civilization of Native America Native American Children. Not only can we see the change of the students after civilization, but also the oppressive system in the Indian School. The photographs are used as the monitoring tool of the government too. The photographs provide us evident to all of these. We can know these by comparing the photos before the Native Indian Kids go to boarding school and after they attend the boarding school. By contrasting the photos from the two periods, we can see that the civilization of the Native American Indian children is actually an oppressive system.

While creating a dialog of indigenous self representation and colonial responsibility, it can be challenging in the academic setting to fully grasp understandings and indigenous ways of knowing. Even as an identifying urban Mi'kmaw woman, I originally had difficulty wholly navigating through the various narratives explored through the Survey of Indigenous Arts' material. Often we are blinded by the ingrained colonial gaze and compounds brought about in our Eurocentric Canadian institutions; which decolonization and relearning trained perceptions about indigenous peoples, can be hard for both settler and Aboriginal peoples alike. Understanding that colonization has intergenerational and systematic impact on indigenous peoples, and that Traditional and Contempery art practice has been a key part of reclamation, healing, and resistance, can help create conversations visually and conceptually within our communities. While for over half a millennium since before the time of Canadian confederation, beginning at contact, early euro-Canadians created concepts of "Indianness" and "Authenticity". During the course of Survey of Indigenous

Shirin Neshat’s “The Book of Kings”, (2012), satisfies the conditions of global art, through exposure garnered by the process of globalisation to adapt to shifting trends in contemporary culture. Specific shifting trends include a growth in the use of social media and the adaptation of the museum to social trends. These trends have contributed to a developing standard of a ‘need’ or ‘expectation’ to diversify and appease spectacle culture outside of predominant “modern” art that relate with “western” connotations . The diversification entails a global art practice with the inclusion of varying traditions that demand differing local narratives . Neshat adapts to the shifting trends of contemporary culture by being one of a growing number of

Interestingly, the building is similar to a tepee in that there was a small window on the top of the rounded celling. Even the elevator was spacious and adorned with tribal symbols. Therefore, before one even enters the exhibit, it is clear that the narrative is one that celebrates culture. Even Atalay, a Native American author recognizes that “… the NMAI aims to ‘recognize and affirm’… Native cultures… and [advance] knowledge and understanding of those cultures” (Atalay 600). Thus creating a sharp contrast from that of the Holocaust. Despite the hardships and the genocide which befell the Native Americans, this museum has a different narrative to preserve, one rich with culture, rather than brutality. The differences displayed in architecture and design help effectively deliver each narrative because they visually and psychologically affect each visitor, adding a deeper layer to the story, effectively conveying each

The READing outlined the role of movement and myth as a part of Indigenous histories yet with the arrival of settlers to Canada their colonial notions tried to replace and erase many of these worldviews and understanding. With the colonial attempt to assimilate and destroy Indigenous cultures in favor of European Christianity, Indigenous practices, understanding and tradition were band or lost. As seen through the banning of Potlaches and PowWow celebration, ritual and spiritual practises, destruction of land and the removal of children from communities and placing them in harmful residential schools stripping them of their languages and cultures. There are many, particularly due to their placement in residential schools that have lost the traditions and practices of their families and communities. The loss of these practises within art due to colonialization is a part of the reason why there large gape within Indigenous art histories, as many practise were banned, or not given the chance to learn from their communities. There are differences to pre- and early contact art as many could no longer practise or no longer knew how to make these traditional forms. It is this loss of information within nations that cultural continuance look towards, it is a re-learning of

There is a feeling of celebration. The text for the viewers guides one to appreciate Aguilar’s traditions. It explains how his photography is not a photojournalist method of hunting. Aguilar’s photography approach follows his parent’s teachings. The photographer is rooted in traditional morals and refuses to believe in “stolen” moments. “He solidifies his relationships with the people in his photographs by presenting them with a large, high-quality prints of their images” (Goudi’ni Gallery). Respect and generosity are core morals in his principles of photography which allow a picture to

We intend it to consist of two different levels, the first one being dedicated exclusively to a painting exhibit and a compilation of media productions where the concepts of Indian of Myth and Indian of Fact meet. This exhibit will try to make the audience understand the culture and traditions of the Indians of old

Photographs are re-collections of the past. This essay is about photography, memory, and history and addresses the relationship between photographic images and the need to remember; it is based on the notion that seeing is a prelude to historical knowledge and that understanding the past relies on the ability to imagine. At the same time, the role of thought and imagination in the production of society--as reflected in the earlier work of Louis Althusser (1970), Maurice Godelier (1984) and perhaps more significantly, Cornelis Castoriadis (1975), suggests yet another role for photography in the construction of a social and cultural reality. Photographs in capitalist societies contribute to the production of information and participate in the surveillance of the environment where their subjective and objective qualities are applied to the private uses of photographic images in the perpetuation of memory.

Museums serve as a way to connect with the public on a large scale, and the knowledge held within exhibits can be a fruitful experience for those who choose to visit these institutions. Experiencing all that a museum has to offer, no matter how well intentioned, can at times be confusing and overwhelming to the individuals visiting the site. The Smithsonian’s Museum of the American Indian dedicates itself to Native Americans in North and South America, and worked tirelessly with varying tribes to create a new standard. Some visitors and scholars found their work to be successful in design and approach while others found it to be lacking in execution. This institution does not approach Native American history in a familiar fashion; however it does cover an expansive period of time, and produces a great amount of detail while generating powerful emotions.