Museums,markets, and modern anthropology

Stocking, George W., Jr., ed. Objects and Others: Essays on Museums and Material Culture. History of Anthropology Volume III. Madison, Wisconsin: University of Wisconsin Press, 1985. viii + 258 pp. including chapter references and index. $25.00 cloth.

Hatcher, Evelyn Payne. Art as Culture: An Introduction to the Anthropology of Art. With an Introduction by E. Adamson Hoebel. Lanham, Maryland: University Press of America, 1985. xviii + 286 pp., including ethnographic notes and index, glossary, bibliography, and indices. $28.00 cloth; $13.75 paper.

Jules‐Rosette, Benneta. The Messages of Tourist Art: An African Semiotic System in Comparative Perspective. Topics in Contemporary Semiotics. New York: Plenum Press, 1984. xviii + 266 pp. including figures, references, index, and appendices. $32.50 cloth.     

他山之石 国外博物馆鉴述

<正>2006年,本·斯蒂勒主演了一部在纽约自然历史博物馆拍摄的电影——《博物馆惊魂夜》影片里他应征成为博物馆的夜班警卫,奇妙的是当夜幕降临,博物馆陈列的标本全都复活了:追逐骨头的霸王恐龙,钻木取火的山顶洞人,英姿飒爽的西部牛仔,以及为了爱情不惜被车压断身体的罗斯福。     

国际博物馆日

“博物馆”一词,源于希腊文“缪斯庵”(museion),原意为“祭祀缪斯的地方”。缪斯是希腊神话中掌管科学和艺术的九位神女的统称,她们分别掌管着历史、天文、史诗、情诗、抒情诗、悲剧、喜剧、圣歌和舞蹈,代表着当时希腊人文活动的全部。约公元前5世纪,在希腊的特尔费·奥林帕斯神殿里,有一座收藏各种雕塑和战利品的宝库,它被视为博物馆的开端。在其后相当长的时间里,博物馆只是供皇室或少数富人观赏奇珍异宝的收藏室。直至18世纪末,西     

浅谈博物馆的观众工作

观众工作是博物馆的中心工作之一,博物馆的陈列应满足观众的需求,博物馆工作应全心全意地为观众服务,博物馆应美化环境、开展丰富多彩的活动来开发博物馆资源,打造博物馆化品牌,吸引、陶冶和教育观众。     

博物馆与展览策划人

在当今世界“全球化”背景下,中国的博物馆展览从纷繁多变的国际博物馆环境中,应梳理出自身有文化价值的主题展览,并形成独特的博物馆发展理念和展览运行模式。国内现阶段博物馆的展览事业要得到提升和发展,其关键在于加快引进高素质策展人才和专业团队来从事这项重要工作,使新的展示观念和审美体验在与公众不断增进的文化诉求中接轨,使博物馆丰富的文化资源得到最广泛人群的充分利用。     

Museums as Leisure

Museums are shifting from a focus upon education alone towards an accommodation of leisure markets. The authors do not consider these concepts of education and leisure, often presented as oppositional, to be irreconcilable within museum practice. Nevertheless, it is apparent that museum practice is changing, in part as a response to the pressures and opportunities of becoming assimilated into leisure markets, predominantly, but not only, as touristic attractions and often as key resources in local economic development. Stakeholders such as users, citizens or governments appear to be unconcerned about these changes in emphasis, whilst some within professional museum practice (also stakeholders) do not wholeheartedly welcome the moves. The authors argue that, historically, museums have been attributed a role in 'entertaining' users and that, in part at least, this was accepted by practitioners where the primary orientation was acquisition and conservation within the project of modernity. In such circumstances, the consumption of museum services was seen as mainly for academic, or educational, utility. More recently, consumption of museums shows evidence of being at least equally associated with meaning as well as utility, i.e. that exhibitions contribute to the assembly of particular lifestyles associated with touristic behaviour.     

博物馆的灯光设计艺术

博物馆中的灯光艺术是每一位设计师必须面对的课题,任何一个主题展览的成功举办离不开展品的展示与表达,以及灯光的衬托与布局。主题展览灯光设计与运用的优劣程度,是衡量博物馆建设成功与否的重要标志。在展览艺术中,光要营造出让人舒适的感受,设计者要设计出令观众满意、舒适的光线和阴影。在目前LED灯具制造技术水平参差不齐的状况下,博物馆应谨慎推进灯光升级工作。灯与光的设计不仅是一种技术,更是一种艺术。光与影的设计发展历程揭示出,它已不仅着眼于探讨主题展览的展品本身,更在营造一种氛围,创造一件艺术作品。     

管窥国内外另类博物馆 奇得令人惊叹 怪得超乎想象

<正>从某种角度上说,了解一个地方的过去和现在是从博物馆开始的。一座博物馆就是一部物化的发展史,人们通过文物与历史对话,穿过时空的阻隔,俯瞰历史的风风雨雨。博物馆不单纯是一个市民文化补习的地方,更重要的,它应该成为市民休闲的主要场所之一,获得多少知识是次要的,享受一下难得