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The book is dense with Susan Andrews's photographs of the exhibition, the visitors, and the post-exhibition journey of the objects. As befits its open-endedness Daniels does not draw one final conclusion as to whether the exhibition was successful or not in transforming the stereotypes that visitors had of Japanese domesticity. i challenges perceptions of contemporary exhibitions by a reversal of power from the curator to the visitor, thus looking at what exhibitions could be - "technologies of the imagination.". [Extracted from the article]

The article reviews the exhibition "Light, Paper, Process: Reinventing Photography," featuring works of Alison Rossiter, Ansel Adams, Matthew Brandt and other members of Group f/64 at the Getty Center in Los Angeles, California from April 14-September 6, 2015.

The article reviews the exhibition "Tout Se Sait," held at the Koba Club in Dakar, Senegal in 2014.

The discursive turn in heritage studies has made major contributions to our understanding of heritage as a set of processual practices, demonstrating how they are inherently contingent while acknowledging their role in the legitimation of specific relationships of power. More recently, there has been a related interest in the rhetorical uses of heritage, and the paper builds on these debates to explore the ways in which the National Gallery (London) mobilised a rhetoric about access as part of its scheme of post-WWII reconstruction. The popular 'Exhibition of Cleaned Pictures' (1947) sheds light on the rhetorical devices employed by the Gallery. These were a cogent example of the Gallery's intended programme of emancipatory viewership, premised on visitors' the right to look, but simultaneously reinforced the Gallery's authoritative discourses. The paper shows how photography's reportedly unbiased language became embedded in the Gallery's democratising agenda and helped shape distinctive forms of publicness which fostered a consensual view about the Gallery's practice of cleaning. Rather than seeing both episodes as mutually exclusive, the paper investigates the internal logic of democratisation and professionalisation as a series of co-dependent rhetorical operations that simultaneously enabled freedom and coercion. [ABSTRACT FROM AUTHOR]

Copyright of INTRECCI d'Arte is the property of Universita di Bologna, Dipartimento delle Arti visive, performative e mediali, Alma Mater Studiorum and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Arte, Individuo y Sociedad is the property of Universidad Complutense de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Journal of the American Institute for Conservation is the property of Taylor & Francis Ltd and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Issues in Ethnology Anthropology is the property of Issues in Ethnology Anthropology and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Based on research in a range of UK museums, this paper explores the visibility and invisibility of the photographic legacy of colonial relations and the representation of the colonial past in museum galleries. It explores the conditions of the 'invisibility' and 'disavowal' of the colonial past in the historical narrative developed by museums, and the anxieties that cluster around such narratives in a postcolonial and multicultural society. The paper argues that the photographic legacy of the colonial past offers a way into those histories, but it is one that can only be realized through the critical engagement with photographs themselves and the work they might be made to do in museums. As an example, it examines the active and complex role of photographs played in the galleries of the British Empire and Commonwealth Museum, Bristol. It concludes that the failure of museums to integrate colonial pasts into their narratives has worked against the wider liberal agendas to which museums subscribe, and that photographic invisibility is both a symptom of and metaphor for the 'invisibility' of the colonial past. [ABSTRACT FROM AUTHOR]

This paper discusses the exhibition Jerusalem at the Museum of World Culture (MoWC) in Gothenburg, Sweden. The exhibition mixes photographs of LGBTQ (LesbianGayBiTransQueer) persons in Jerusalem, with quotes from the three Abrahamitic Holy Scriptures condemning homosexual activities and behaviours. MoWC held dialogues with religious persons. Although no-one wanted to stop the exhibition, many were critical of the artist's mixing of Holiness and Nudity/ Sexuality. The Museum was criticized for bending to fundamentalist pressure, assuming that it had plans to stop the exhibition, and a media debate on censorship and freedom of speech followed. This paper analyzes the situatedness of MoWC, and its discursive belonging. How can a state governed institution deal with legitimate and opposing claims, and counter both heteronormativity and islamophobia? What discourses is the Museum institution inscribed in? What power relations follow from that? Is it, due to historic, bureaucratic, and cultural legacies, tied to certain positions and affiliations in the public space? [ABSTRACT FROM AUTHOR]

When People Dancing's 2013 '11 Million Reasons' (11MR) project was first advertised, the vision for the photography exhibition was to 'recreate iconic dance moments in film'. When the 2016 follow-on project '11 Million Reasons to Dance' (11MRTD) was conceptualised, the exhibition's premise was described as commissioning 'images of iconic dance moments from film, all reimagined by Deaf, sight impaired and disabled dancers'. This shift from 'recreated' to 'reimagined', as well as the decision to use a RE approach at all for an intervention, was intriguing. This article explores the meaning, purpose and use of the RE prefix, evaluating its use in dance contexts, its impact when used within disability contexts and its use for the 11MRTD project, as well as considering questions raised by the project regarding the recreation of popular dance scenes in relation to the viewing of non-normative bodies by public audiences. [ABSTRACT FROM AUTHOR]

Copyright of Il Capitale Culturale: Studies on the Value of Cultural Heritage is the property of Il Capitale Culturale Studies on the Value of Cultural Heritage and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article presents news related to Middle Eastern archaeology. An obituary is presented for ancient Semitic language expert Anson Rainey. Information is offered on the International Congress of the Archaeology of the Ancient Near East (ICAANE) held in Warsaw, Poland from April 30 to May 4, 2012. A review is offered for the exhibition "In Search of Biblical Lands: From Jerusalem to Jordan in Nineteenth-century Photography" at the Getty Villa in Los Angeles, California from March 2 to September 12, 2011.

While the White Cube has been criticised numerous times since the 70s, it is striking to see it has perpetuated in most of the contemporary photographic shows. Especially, as the critics historically emphasised its negative political stakes, we have to ask ourselves about its use in exhibitions that are thought to be politically committed. The author engages that question with the example of several exhibitions of the work of the French photographer Willy Ronis, known for his communist engagement. As these exhibitions, held by the Jeu de Paume, take on the White Cube, he recalls some of the main critics of the set-up, before showing that photography may not totally be concerned by these analyses. He shows that photography actually authorizes the coexistence of the White Cube and a certain photographic commitment. [ABSTRACT FROM AUTHOR]

Copyright of Journal of the Institute of Art History is the property of Radovi Instituta za Povijest Umjetnosti and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)