Museums Issues With Open-Air Photographs

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.

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.

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

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.

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

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.

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

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

and professors went there it was a nice education trip. We had explored the art in that museum. Different part of that museum is Manifesto by Julian Rosefeldt. It is monumental film installation MANIFESTO. In which total thirteen different roles and scenes are there. Actor recites manifestos of artistic manner. These manifestos are core artistic message regarding social and political issues. It is representing modern art as well. In manifesto one of video teacher said to their students “nothing is original” and another one television anchor said that “all current art is fake”. Both statements make

Sekula describes the archival paradigm through the work of Alphonse Bertillon and Francis Galton, who developed the tools and techniques that allowed the growth of the generalized practice of the bureaucratic handling of visual documents. Bertillon and Galton’s work represented two attempts to regulate social deviance by means of photography.

Peter Nesbett breaks the boundary and challenges the traditional exhibition. An art exhibition without the traditional art works, such as painting, sculpture. Instead of using traditional art forms. He selects imitating work, performance, and even cooking to submit his ideas, and concepts. Peter Nesbett provides another possibility, different of aspect of art to the participants. Also defining another model in curatorial

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

Visual Anthropology provides visual documentation, either in the form of photographs, films, or videos, of early cultures to be “used for research, teaching, and cultural preservation” (Prins 2004: 2). What many people do not realize is that sometimes the documentation may not always explain the truth in the eyes of the people they are documenting. With the historical emergence of visual anthropology on the rise, this sometimes biased or untrue documentation, can lead to the dispossession and colonization of many Native peoples. One instance where this is the case is in Nanook of the North, directed by Robert J. Flaherty. This film, directed in 1932, focuses on the daily activities of a family of Quebec Inuit Indians. This society was portrayed

The shot shows a male figure viewing photographs. We see the person from the rear, look over his shoulder, past him, as he passes along the collection of images, and at the same time we look into some of the faces that are visible in the photos and which seem to be looking at us outside of the picture frame rather than at the person in the picture viewing them. We are dealing here with black-and white photographs from the late 1920s, which, among others, were taken by the German anthropologist and racial theorist Egon von Eickstedt between 1926 and 1929.1 A selection of these pictures, created in connection with research into the indigenous population of India listed under the generic term Adivasi and—this should be stressed first—without explicit reference to the problematic race-theory-based history of its origins, was brought back to India in 2012. Accompanied by a team of ethnologists from Germany and England, the photographs were exhibited in Tejgadh, in the state of Gujarat in northwest India, in different locations: in the still young “Museum of Voice” of the Adivasi Academy, in individual private houses in the neighbouring villages and in a consecrated place in the open air, reserved for rituals. This latter-mentioned setting has been recorded in the above-mentioned photo. Mounted on brown card, the photographs hang in long lines, three rows above one another on a movable wattle wall, which flanks the place of encounter in the outside space. A presentational