Our (Museum) World Turned Upside Down: Re-presenting Native American Arts
Our (Museum) World Turned Upside Down: Re-presenting Native American Arts
复制标题
我们的（博物馆）世界颠倒了：再现美洲原住民艺术
DOI：
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发表时间：
2019
期刊：
影响因子：
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通讯作者：
R. Phillips
中科院分区：
文献类型：
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作者：
J. Berlo;R. Phillips
私人和公共收藏的美洲原住民物品中，绝大多数都是1830年至1930年殖民主义鼎盛时期的遗产（这与斯图尔特万特（1969）所说的“博物馆时代”密切相关）。在专门研究北美原住民艺术的艺术史分支中，围绕这些物品的收集和展示的最紧迫问题直接来自它们形成的帝国主义历史。在美洲原住民活动家和学术理论家的推动下，美洲原住民艺术的历史学家和策展人今天正在重新思考最根本的问题：谁有权控制美洲印第安人的物品，其中许多物品被制造者认为不是艺术品，而是权力的工具？谁能接触到知识（甚至仅仅是通过凝视权力对象获得的知识），只有那些已经开始的人，还是所有通过文化机构大门的人？谁有权说这些物品的含义，以及它们是否和如何被展示？随着美洲原住民在博物馆代表中扮演越来越权威的角色，他们将如何重塑博物馆作为一个机构？
THE VAST MAJORITY of Native American objects in private and public collections are the legacy of the high period of colonialism that lasted from about 1830 to 1930 (which corresponds closely with what Sturtevant (1969) called ‘The Museum Age’). In the subfield of art history devoted to the arts of Native North America, the most urgent issues surrounding the collecting and display of these objects arise directly from the imperialist histories of their formation. Prodded by Native American activists and academic theorists, historians and curators of Native American art are today rethinking the most fundamental questions: Who has the right to control American Indian objects, many of which are thought by their makers not to be art objects but instruments of power? Who has access to knowledge (even simply the knowledge gained from gazing upon an object of power), only those who have been initiated, or all who pass through the doors of a cultural institution? Who has the right to say what the objects mean, and whether and how they are displayed? And how will Native Americans, as they assume increasingly authoritative roles in museum representation, remake the museum as an institution?.