janúar 2013

Hver er tilgangur safna, eru þau um tiltekna hluti eða eru þau fyrir fólk?

Museum Matters

What should the purpose of a museum be?

According to Stephen E. Weil, emeritus senior scholar at the Smithsonian Institution in Washington, instead of being about something, museums should be for somebody. In his article about the transformation of American museums, Weil pinpoints two major currents for change that aided in this shift to a visitor centered approach…

The first major current for change according to Weil:

The museum is an instrument for social change!

By viewing the museum as an instrument for social change, as opposed to a repository for collections that never see the light of day, museums are given a new sense of purpose. This new sense of purpose is centered around the idea that education is the primary purpose of a museum. Although the early 20th century concept of a warehouse full of old, dusty, remarkable objects may seem nice in a traditional and safe way…

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Kapphlaup um björgun óbætanlegra menningarverðmæta í Timbuktu undan stríðsátökum.
Væri það slæmt ef stríðsaðilar hefðu selt gripina á opnum markaði til einkasafnara? Munirnar ættu þá varla á hættu að eyðileggjast.


Is the fabled city of Timbuktu about to be rescued? Two weeks after France began bombing Islamic militant positions in northern Mali, columns of French and African armored vehicles snaking northward through the country are closing in on the ancient capital of the old Malian Empire, which has been ruled under harsh Shari‘a by militant Islamists since last spring.

That might seem like good news. But as the troops advance, the anxiety has risen among those who’ve spent years and millions of dollars trying to preserve the city’s centuries-old history. The fear, they say, is that if there is ground combat, once the forces arrive in Timbuktu, it could be as perilous to cultural treasures as the Islamists’ nine-month occupation. “Wherever you see military intervention, things are bound to get destroyed,” says Shamil Jeppie, director of the Timbuktu Manuscripts Project at the University of Cape Town, which has worked…

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Kynþáttafordómar fá á sig margar ljótar myndir. Þessar ljósmyndir sýna okkur hve áhrifamikla sögu fréttaljósmyndarar og lítil börn geta ofið saman. Lögreglumaðurinn varð táknmynd ofbeldis og þöggunar þegar hann reif fána úr höndum fimm ára drengs.

Iconic Photos


In 1965, at Jackson, Mississippi, Matt Herron took an iconic and ironic image from the civil rights era as a white policeman rips an American flag away from a young black boy, having already confiscated his ‘No More Police Brutality’ sign. Herron remembers the events that surrounded that World Press Photo prize wining photos:

The picture was taken at the side entrance to the Governor’s mansion on Capital Street in Jackson in the summer of 1965. The boy is Anthony Quinn, aged 5. His mother, Mrs. Ailene Quinn of McComb, Mississippi and her children were trying to see Governor Paul Johnson; they wanted to protest aganist the election of five Congressmen from districts where blacks were not allowed to vote. Refused admittance, they sat on the steps. The policeman struggling with Anthony is Mississippi Highway Patrolman Hughie Kohler. As Kohler attempted to confiscate the flag, Mrs. Quinn said: ‘Anthony, don’t let…

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Nürnberg-réttarhöldin voru lokapunktur Evrópustríðsins og enn ein sönnunin um að það er ávallt sigurvegarinn sem skrifar söguna eftir á. Þessar myndir af líkum þeirra sem voru teknir af lífi í kjölfar réttarhaldanna vekja sömuleiðis upp siðferðilegar spurningar um hvað sé leyfilegt og hvort yfirleitt sigurvegurunum sé ekki allt leyfilegt í stríði.

Iconic Photos


Above clockwise: Streicher, Jodl, Sauckel, Frick, Ribbentrop; below, clockwise from topright, Keitel, Rosenberg, Seyss-Inquart, Frank, Kaltenbrunner, Goering.

Nazi_death2Although the Nuremberg Trials had been a media circus, only a selected group of reporters were allowed into the execution chambers of the Nazi war criminals. The authorities feared that the Nazi leaders would get sympathy or they would become martyrs if the executions turned into a media spectacle. Eight journalists from Big Four countries were selected by lottery, but only one photographer (and he was from U.S. Army) was allowed behind the close doors to report the last moments inside the prison.

The French judges suggested the use of a firing squad for the military condemned, but the other judges deemed undignified execution by hanging more appropriate. The hangings were carried out on 16 October 1946 by the executioner John C. Woods. Of the 12 defendants sentenced to death by hanging, two were…

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Mögnuð ljósmynd og skemmtilegt dæmi um sjálfsritskoðun safna þótt málverkið sjálft sé meira að segja frægt fyrir svipaða þöggun og ljósmyndin.

Iconic Photos

In 2006, to celebrate its 20th anniversary, the Musée d’Orsay gave carte blanche to five members of the Vu Agency to photograph the museum’s staff in front of their favorite paintings inside museum. It let the staff and the photographers to choose a painting and staging. The British photographer Rip Hopkins and the museum security employee named Cyril collaborated to pose in front of Edouard Manet’s Le dejeuner Sur l’herbe. Cyril’s naked pose was a direct response to that of the young woman in the painting.

When it went to publication, Hopkin’s other photos — including one where an employee appears in Rugby attire before Gustave Courbet’s L’Atelier du peintre — were included but the above photo was conspicuously excluded. Although the museum initially defended the decision by saying it only chose photos that are unique and interesting, when a book on contemporary photography included the photo, the museum protested saying…

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