Janet Marstine – författare

Curating Under Pressure breaks the silence surrounding curatorial self-censorship and shows that it is both endemic to the practice and ubiquitous. Contributors map the diverse forms such self-censorship takes and offer creative strategies for negotiating curatorial integrity.

This is the first book to look at pressures to self-censor and the curatorial responses to these pressures from a wide range of international perspectives. The book offers examples of the many creative strategies that curators deploy to negotiate pressures to self-censor and gives evidence of curators’ political acumen, ethical sagacity and resilience over the long term. It also challenges the assumption that self-censorship is something to be avoided at all costs and suggests that a decision to self-censor may sometimes be politically and ethically imperative. Curating Under Pressure serves as a corrective to the assumption that censorship pressures render practitioners impotent. It demonstrates that curatorial practice under pressure offers inspiring models of agency, ingenuity and empowerment.

Curating Under Pressure is a highly original and intellectually ambitious volume and as such will be of great interest to students and academics in the areas of museum studies, curatorial and gallery studies, art history, studio art and arts administration. The book will also be an essential tool for museum practitioners.

Curating Under Pressure breaks the silence surrounding curatorial self-censorship and shows that it is both endemic to the practice and ubiquitous. Contributors map the diverse forms such self-censorship takes and offer creative strategies for negotiating curatorial integrity.

This is the first book to look at pressures to self-censor and the curatorial responses to these pressures from a wide range of international perspectives. The book offers examples of the many creative strategies that curators deploy to negotiate pressures to self-censor and gives evidence of curators’ political acumen, ethical sagacity and resilience over the long term. It also challenges the assumption that self-censorship is something to be avoided at all costs and suggests that a decision to self-censor may sometimes be politically and ethically imperative. Curating Under Pressure serves as a corrective to the assumption that censorship pressures render practitioners impotent. It demonstrates that curatorial practice under pressure offers inspiring models of agency, ingenuity and empowerment.

Curating Under Pressure is a highly original and intellectually ambitious volume and as such will be of great interest to students and academics in the areas of museum studies, curatorial and gallery studies, art history, studio art and arts administration. The book will also be an essential tool for museum practitioners.

Routledge Companion to Museum Ethics is a theoretically informed reconceptualization of museum ethics discourse as a dynamic social practice central to the project of creating change in the museum. Through twenty-seven chapters by an international and interdisciplinary group of academics and practitioners it explores contemporary museum ethics as an opportunity for growth, rather than a burden of compliance. The volume represents diverse strands in museum activity from exhibitions to marketing, as ethics is embedded in all areas of the museum sector. What the contributions share is an understanding of the contingent nature of museum ethics in the twenty-first century—its relations with complex economic, social, political and technological forces and its fluid ever-shifting sensibility.

The volume examines contemporary museum ethics through the prism of those disciplines and methods that have shaped it most. It argues for a museum ethics discourse defined by social responsibility, radical transparency and shared guardianship of heritage. And it demonstrates the moral agency of museums: the concept that museum ethics is more than the personal and professional ethics of individuals and concerns the capacity of institutions to generate self-reflective and activist practice.

Routledge Companion to Museum Ethics is a theoretically informed reconceptualization of museum ethics discourse as a dynamic social practice central to the project of creating change in the museum. Through twenty-seven chapters by an international and interdisciplinary group of academics and practitioners it explores contemporary museum ethics as an opportunity for growth, rather than a burden of compliance. The volume represents diverse strands in museum activity from exhibitions to marketing, as ethics is embedded in all areas of the museum sector. What the contributions share is an understanding of the contingent nature of museum ethics in the twenty-first century—its relations with complex economic, social, political and technological forces and its fluid ever-shifting sensibility.

The volume examines contemporary museum ethics through the prism of those disciplines and methods that have shaped it most. It argues for a museum ethics discourse defined by social responsibility, radical transparency and shared guardianship of heritage. And it demonstrates the moral agency of museums: the concept that museum ethics is more than the personal and professional ethics of individuals and concerns the capacity of institutions to generate self-reflective and activist practice.

Curating Art provides insight into some of the most socially and politically impactful curating of historical and contemporary art since the late 1990s. It offers up a museological framework for understanding watershed developments of curating in art museums.

Representing the plurality of theory and practice around the expanded field of relational curating, the book focuses on curating that prioritises the quality of relationships between people and objects, between institutions and people and among people. It has wide international breadth, with particularly strong representation in East and Southeast Asia, including four papers never before translated into English. This Asian cluster illuminates the globalisation of the field and challenges dichotomies of East and West while acknowledging distinctions within specific, but often transnational, cultural spheres.

The compelling philosophical perspectives and case studies included within Curating Art will be of interest to students and researchers studying curating, exhibition development and art museums. The book will also inspire current and emerging curators to pose challenging but important questions about their own practice and the relationships that this work sustains.

Curating Art provides insight into some of the most socially and politically impactful curating of historical and contemporary art since the late 1990s. It offers up a museological framework for understanding watershed developments of curating in art museums.

Representing the plurality of theory and practice around the expanded field of relational curating, the book focuses on curating that prioritises the quality of relationships between people and objects, between institutions and people and among people. It has wide international breadth, with particularly strong representation in East and Southeast Asia, including four papers never before translated into English. This Asian cluster illuminates the globalisation of the field and challenges dichotomies of East and West while acknowledging distinctions within specific, but often transnational, cultural spheres.

The compelling philosophical perspectives and case studies included within Curating Art will be of interest to students and researchers studying curating, exhibition development and art museums. The book will also inspire current and emerging curators to pose challenging but important questions about their own practice and the relationships that this work sustains.

This book considers key ethical questions in museum policy and practice, particularly those related to issues of collection and display. What does a collection signify in the twenty-first century museum? How does an engagement with immateriality challenge museums’ concept of ownership, and how does that immateriality translate into the design of exhibitions and museum space? Are museums still about safeguarding objects, and what does safeguarding mean for diverse individuals and communities today? How does the notion of the museum as a performative space challenge our perceptions of the object?

The scholarship represented in this volume is a testament to the range and significance of critical inquiry in museum ethics. Together, the chapters resist a legalistic interpretation, bound by codes and common practice, to advance an ethics discourse that is richly theorized, constantly changing and contingent on diverse external factors. Contributors take stock of innovative research to articulate a new museum ethics founded on the moral agency of museums, the concept that museums have both the capacity and the responsibility to create social change.

This book is based on a special issue of Museum Management and Curatorship.

This book considers key ethical questions in museum policy and practice, particularly those related to issues of collection and display. What does a collection signify in the twenty-first century museum? How does an engagement with immateriality challenge museums’ concept of ownership, and how does that immateriality translate into the design of exhibitions and museum space? Are museums still about safeguarding objects, and what does safeguarding mean for diverse individuals and communities today? How does the notion of the museum as a performative space challenge our perceptions of the object?

The scholarship represented in this volume is a testament to the range and significance of critical inquiry in museum ethics. Together, the chapters resist a legalistic interpretation, bound by codes and common practice, to advance an ethics discourse that is richly theorized, constantly changing and contingent on diverse external factors. Contributors take stock of innovative research to articulate a new museum ethics founded on the moral agency of museums, the concept that museums have both the capacity and the responsibility to create social change.

This book is based on a special issue of Museum Management and Curatorship.

Critical Practice is an ambitious work that blurs the boundaries between art history, museum studies, political science and applied ethics. Marstine demonstrates how convergences between institutional critique and socially engaged practice, as represented by the term ‘critical practice’, can create conditions for organisational change, particularly facilitating increased public agency and shared authority. The book analyses a range of museum interventions exploring such subjects as the ethical stewardship of collections, hybridity as a methodological approach to social justice and alternative forms of democracy. Discussing critical practice within the framework of peace and reconciliation studies, Marstine shows how artists’ interventions can redress exclusions, inequalities and relational frictions between museums and their publics.

Elucidating the museological and ethical implications of institutional critique and socially engaged practice, Marstine has provided a timely and thoughtful resource for museum studies scholars, artists, museum professionals, art historians and graduate students worldwide who are interested in mapping and unpacking the intricate relationships among artists, museums and communities.

Critical Practice is an ambitious work that blurs the boundaries between art history, museum studies, political science and applied ethics. Marstine demonstrates how convergences between institutional critique and socially engaged practice, as represented by the term ‘critical practice’, can create conditions for organisational change, particularly facilitating increased public agency and shared authority. The book analyses a range of museum interventions exploring such subjects as the ethical stewardship of collections, hybridity as a methodological approach to social justice and alternative forms of democracy. Discussing critical practice within the framework of peace and reconciliation studies, Marstine shows how artists’ interventions can redress exclusions, inequalities and relational frictions between museums and their publics.

Elucidating the museological and ethical implications of institutional critique and socially engaged practice, Marstine has provided a timely and thoughtful resource for museum studies scholars, artists, museum professionals, art historians and graduate students worldwide who are interested in mapping and unpacking the intricate relationships among artists, museums and communities.

New Museum Theory and Practice is an original collection of essays with a unique focus: the contested politics and ideologies of museum exhibition.