Questioning Participation and Display Practices in Fine Arts Museums
The paper is based on research that has critically assessed developments in the display of Fine Art in the UK, in order to identify strategies that, whilst retaining the integrity of the objects’ history and respecting curatorial expertise, make artworks accessible to visitors and engage the audienc...
में बचाया:
| में प्रकाशित: | URI:https://journals.openedition.org/iss, |
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| मुख्य लेखक: | |
| स्वरूप: | Article ou chapitre numérique |
| भाषा: | Anglais |
| प्रकाशित: |
ICOFOM Study Series
2018
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| विषय: | |
| ऑनलाइन पहुंच: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
| सारांश: | The paper is based on research that has critically assessed developments in the display of Fine Art in the UK, in order to identify strategies that, whilst retaining the integrity of the objects’ history and respecting curatorial expertise, make artworks accessible to visitors and engage the audience in the development of the exhibits. The research aims to propose frameworks of practice for museums where these artworks are interpreted according to the art historical canon, speaking an obscure language to the contemporary global audience. As a consequence, whilst the international debate is proposing participative models of museums, the gap between curatorial practices and museological debate is increasing. The paper intertwines theoretical and epistemological reflections with observations of museum practice. After the contribution of participatory museology, a downfall of the museum literature has been the lack of discussion about the position of the specialist value of artworks in the development of socially relevant displays. This resulted in artworks being largely presented from an art historical point of view. It will be discussed how, by validating objects’ socio-cultural history, diverse expertise within the museum workforce can be valorised and can collaborate to include new voices and develop participatory and accessible displays. |
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