Mining the museum in an age of migration
in Migration into art
Abstract only
Log-in for full text

You are not authenticated to view the full text of this chapter or article.

manchesterhive requires a subscription or purchase to access the full text of books or journals - to see content that you/your institution should have access to, please log in through your library system or with your personal username and password.

If you are authenticated and think you should have access to this title, please contact your librarian.

Non-subscribers can freely search the site, view abstracts/extracts and download selected front and end matter. 

Institutions can purchase access to individual titles; please contact manchesterhive@manchester.ac.uk for pricing options.

ACCESS TOKENS

If you have an access token for this content, you can redeem this via the link below:

Redeem token

Migratory aesthetics and artists with a migrant background can have various points of entry into museums, galleries and collections. This chapter examines interventions by three artists, Fred Wilson, Yinka Shonibare and Rina Banerjee, who all take a critical de- and postcolonial approach to the institutional structures and spaces of Western museums. Mining the Museum was based on a collaboration that allowed the artist to interview the staff and to have open access to the collection, including the objects and histories that had been hidden away in the museum's basement. Like Wilson, Shonibare highlights the complexity and reciprocity of interracial and colonial relations. The Musée Guimet invited Rina Banerjee to make an intervention in the hope that this could help the institution get beyond the orientalist and Eurocentric outlook on which the Museum's collection was originally founded.

Migration into art

Transcultural identities and art-making in a globalised world

Metrics

All Time Past Year Past 30 Days
Abstract Views 202 63 4
Full Text Views 51 4 0
PDF Downloads 21 6 0