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Learn about the SCAD Museum of Art The 2008 symposium was a tremendous success! Thank you to all who participated. To watch a video of a specific session, click on a session title below. Explore the latest trends in museum studies in the context of the new museum at the second biennial Savannah College of Art and Design Art History Symposium in Savannah, Ga. The three-day symposium includes a series of sessions and events centered on exhibition, education, technology and cultural heritage.  New York City artist Fred Wilson delivers the keynote address Friday evening at the Trustees Theater with “The Silent Message of the Museum.” Wilson’s work creates new exhibition contexts for the display of art and artifacts found in museum collections, seeking to address issues of identity and construction. In his lecture, Wilson uses images of his work to discuss the nature of practice in relation to the museum and the hidden meanings of display. As part of the symposium, SCAD hosts walking tours of historic Savannah and a museum hop of Savannah museums, providing attendees with a vital and vibrant location for the discussion of [new] museum issues and trends. The strength of SCAD’s museum studies program is cemented in the personal contact students have with directors, curators, educators and conservators through site visits to a wide range of museum styles and classroom visits by museum professionals.  Session I Museums in Crises Past and Present: Collections, Ownership, and Cultural Heritage Session chair: Jane W. Rehl, Ph.D. Cathleen M. Giustino, Ph.D. Auburn University Nazi Brutality, Communist Confiscations, and Aristocratic House Museums in Cold War Czechoslovakia Josiah Mhute, M.A. Former Curator with National Museums and Monuments of Zimbabwe (1990–2003) Heritage, Communities and Power: The Politics of Representation in the Museums and Monuments of Zimbabwe Most of the controversies now swirling around the world’s museum collections and exhibitions can be related directly to the larger issues of ownership (who owns the past?) and cultural heritage or patrimony (who has the right to manipulate that past, how, and for what reason/s?). Guardianship of cultural heritage has proven to be especially difficult if not impossible to sustain in third world and war-torn regions throughout modern history. The papers in this session are particularly noteworthy because the speakers will be addressing past and present conditions in museums in very different locales, neither of which have garnered attention in the general literature about cultural heritage: the Nazi seizure of Bohemian aristocratic villas and art collections and their subsequent complex history, including conversion into house museums by the Communists in Cold War Czechoslovakia; and the National Museums and Monuments in post-colonial Zimbabwe, which have been mobilized most recently as tools for social management by the state, thereby subverting the very meaning of what a museum is or should be in the 21st century. A third presenter is expected to join this session from Canada and will address an aspect of the existing relationship between museums and native peoples of the Western Hemisphere. Session II and Session III Contemporary Artists 'Intervening,' Re-displaying Museological Collections (Session II)
Continued (Session III)
Session chair: Celina Jeffery, Ph.D. Lewis Kachur, Ph.D. Kean University of New Jersey
Re-Mastering MoMA: The Artist’s Choice Series, the first two years Cher Krause Knight, Ph.D. Emerson College Both Object and Subject’: MoMA’s Burton on Brancusi
Janet Marstine, Ph.D. Seton Hall University
Using Artists’ Museum Interventions and Critiques to Spark New Conversations in Museum Ethics Anthony Shelton, Ph.D. Director, Museum of Anthropology, Professor of Anthropology, and Adjunct Professor of Art History, Theory and Visual culture, University of British Columbia The Anthropologist as Artist: Critique and intervention in the Museu da Antropologia, Coimbra, Portugal 1998-2006
Alex Rheault, M.F.A. drawing room drawing room: where community and drawing collide
James Coupe, M.A. University of Washington, Seattle (re)collector: artwork as a self-organizing system
There has been intense discussion about the ways in which curatorial practice may be thought of as a form of artistic practice, but how about the consideration of artists as museum curators? Peter Greenaway's "Some Organizing Principles" (1993) at The Glynn Vivian Art Gallery, Wales; Sonia Boyce's "Peep" (1995), an installation in response to the collection of ethnographic art at the Brighton Museum; and John Baldessari's recent contribution to the Hirshhorn Museum and Sculpture Garden's "Ways of Seeing" initiative, which invites visual artists, authors and film makers to create installations from the collections, have all sought to re-consider the museum as a self-reflexive space, resulting in displays that subvert, democratize and stimulate a creative dialogue with the audience. This panel seeks to evaluate the ways in which artists have re-envisaged museum collections from a subjective perspective. What is the history of artists as museum curators? What alternative curatorial strategies have artists employed and what new cultural languages have been offered through these interventions? Session IV Architecture of Participation Session chair: Christoph Klütsch, Ph.D. Martin Koplin, M.A. Institute of Applied Media Sciences at the University of Applied Sciences, Bremen, Germany Participative and Interactive: Mobile Media as eCulture
John Hopkins, BSc., M.F.A. Independent educator, researcher and artist neoscenes.net The Nomad, The Archive, and the Techno-Social System Eric Redlinger, M.S. Researcher-in-residence, Integrated Digital Media Institute, Brooklyn Polytechnic University Eric Dunlap and Holly Daggers Forward Motion Theater Keiko Uenishi SHARE Piotr Adamczyk, M.S. Analyst, The Metropolitan Museum of Art The cultural landscape surrounding museums continues to go through dramatic changes. One of the most challenging tasks today is the integration of the audience—a core element of the cultural landscape—into the museum institution museum. The rise of specialized museums is evidence of a competitive cultural industry, which forces contemporary museology to investigate the multiple relations between artist, object, visitor, participant, curator, economy and technology. A central notion hasa ppeared in recent years: participation. Investigate the way relationship between participating elements could be re-interpreted to meet the cultural needs of the global society through the lens of pilot projects in the European Union, which will be compared and contrasted with experiences of global artistic collaboration to stimulate a discussion about the "Architectures of Participation." Session V The Paradigm Shifts Again: Educating Your Public Session chair: Margy Betz, Ph.D. J. Marshall Adams, M.A. Museum of Contemporary Art Jacksonville In The Wake of the Paradigm Shift, Lurking: The Cult of the Infomaniac
Claire Baddeley, M.A. University of Canberra, Australia Hands On or Hands Off? 'Discovery Centres' and the Public Experience in Australian Museums
Sevil Dolmacý, M.A. Baskent University, Turkey At the Crossroads of the East and the West: Istanbul Museum of Modern Art
Katharine Anne Douglass, M.A. Michigan State University Art and Aggression: Contemporary Asian Art, 20th Century Conflict, and the Role of the Museum
Janet Kempf, M. A. Staatliche Museen zu Berlin, Germany The Bode-Museum in Berlin: Cradle of the Modern Museum-Concept
At the crossroads of Europe and Asia, or in the midst of redefining the educational mission, practice in educating the public to the museum’s mission and its contents constantly shifts – that is, whenever we take the effort to reassess based on input from our colleagues and audiences. What is up and coming in methods for conveying its value to the communities each institution serves? How can we handle controversial topics like the bombing of Hiroshima and Nagasaki, and the Vietnam War when exhibits intend to draw Asian audiences? This broad field, how the “museum-as-public-steward” can perform at a high level, even in war-torn areas, requires adaptive strategies by museum staffs, who cannot cope by themselves. Worldwide, museums are accountable to many different communities who evaluate their performance. Educational outreach enhances the value of any museum to its community (indeed, communities), and it is a task equal to the never-simple collection and interpretation of museum holdings. What age-appropriate educational programs work to build accessibility for intellectual development among their communities? Particularly in this dangerous age, museum educators can become more visible, if supported by the global community of professionals. the session abstracts.
Thursday, April 3
On-site registration
opens at River Club,
2–6 p.m. | Friday, April 4
On-site registration open
River Club, 8 a.m.–2 p.m.
Session I
River Club, 8:30–10 a.m.
Break, 10-10:15 a.m.
Session II
River Club, 10:15–11:45 a.m.
Lunch
River Club, 11:45 a.m.–12:30 p.m.
Session III
River Club, 12:30–2 p.m.
Break, 2–2:15 p.m.
Session IV
River Club, 2:15–3:45 p.m.
Break, 3:45–4 p.m.
Session V
River Club, 4–5:30 p.m.
Dinner
On your own, 5:30–7 p.m.
Keynote address: Fred Wilson
Trustees Theater, 7–8 p.m.
Reception
Red Gallery, 8–9:30 p.m.
| Saturday, April 5
Walking tour of historic Savannah I
9 a.m.–11:30 a.m.
Savannah museum hop
8:30 a.m.–noon
Closing reception
Pei Ling Chan Garden
and Gallery for the Arts
Noon–2 p.m.
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Co-chairs James T. Janson, Ph.D., 912.525.6073 Andrew M. Nedd, Ph.D., 912.525.6091 • Margaret Betz, Ph.D.
• Patricia Butz, Ph.D.
• Celina Jeffery, Ph.D.
• Edwin Johnson
• Christoph Klütsch, Ph.D.
• Rebecca Turner
| • Lesa Mason, Ph.D.
• Christine Neal, Ph.D.
• Jane Rehl, Ph.D.
• Sue Richards
• Leslie Washburn
| This symposium was made possible with the support of the Office of the President and the School of Liberal Arts. - Art History Department
- SCAD Museum of Art
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- Plans for the future Walter O. Evans Center for African-American Studies include an initial donation of 70 works surveying a range of African-American art from the 19th and 20th centuries, including works by Romare Bearden, Aaron Douglas and Jacob Lawrence.
- 2006 Art History Symposium
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