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Foe, facilitator, friend or forsaken?
Bryony Onciul

Community engagement, Indigenous heritage and the complex figure of the curator: foe, facilitator, friend or forsaken? Bryony Onciul Current critical issues, such as decolonisation, truth and reconciliation, span the interconnected networks of peoples, places, practices and artefacts which draw museums and their curators into complex and ever-changing spheres of engagement in today’s globalised world. While curation is a recognised and respected profession, the proliferation of community engagement since the 1980s has brought increased awareness of the importance

in Curatopia
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Objects, disciplines and the Manchester Museum

At the turn of the nineteenth century, museums in Europe and North America were at their largest and most powerful. New buildings were bigger; objects flooded into them, and more people visited them than ever before. The Manchester Museum is an ideal candidate for understanding cultures of display in twentieth-century Britain. It is a treasure trove of some four million priceless objects that are irreplaceable and unique. Like many large European collections, the origins of the Manchester Museum are to be found in a private cabinet: that of John Leigh Philips. This book traces the fate of his cabinet from his death in 1814. The establishment of the Manchester Natural History Society (MNHS) allowed naturalists to carve out a space in Manchester's cultural landscape. The Manchester Museum's development was profoundly affected by the history of the University in which it operated. In January 1868, the Natural History Society formally dissolved, and an interim commission took control of its collections; the Manchester Geological Society transferred its collections the following year. The new collection was to be purely scientific, comprising geology, zoology and botany, with no place for some of the more exotic specimens of the Society. The objects in the collection became part of Manchester's civic identity, bringing with them traces of science, empire and the exotic. Other museological changes were afoot in the 1990s. Natural history collections became key sites for public engagement with environmental issues and biodiversity and more recently as sites for exhibiting art.

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Museums and the future of curatorship

What is the future of curatorial practice? How can the relationships between Indigenous people in the Pacific, collections in Euro-American institutions and curatorial knowledge in museums globally be (re)conceptualised in reciprocal and symmetrical ways? Is there an ideal model, a ‘curatopia’, whether in the form of a utopia or dystopia, which can enable the reinvention of ethnographic museums and address their difficult colonial legacies? This volume addresses these questions by considering the current state of the play in curatorial practice, reviewing the different models and approaches operating in different museums, galleries and cultural organisations around the world, and debating the emerging concerns, challenges and opportunities. The subject areas range over native and tribal cultures, anthropology, art, history, migration and settler culture, among others. Topics covered include: contemporary curatorial theory, new museum trends, models and paradigms, the state of research and scholarship, the impact of new media and current issues such as curatorial leadership, collecting and collection access and use, exhibition development and community engagement. The volume is international in scope and covers three broad regions – Europe, North America and the Pacific. The contributors are leading and emerging scholars and practitioners in their respective fields, all of whom have worked in and with universities and museums, and are therefore perfectly placed to reshape the dialogue between academia and the professional museum world.

A material and processual account of image making
Agni Prijatelj

-power and involved in vital material engagements (see Bennett 2010), stamps reveal a great deal about the relational processes between the materials they were made from, their makers, the finished tools and the people who used them. They also tell us much about other objects associated with them, the places in which they were used, the images produced with them and the materials on which they reproduced geometrical motifs. By examining these various emerging assemblages of people, tools, materials, things, places, processes and practices (see Bennett 2010; DeLanda 2016

in Images in the making
Curatorial bodies, encounters and relations
Noelle M.K.Y. Kahanu, Moana Nepia, and Philipp Schorch

the illusory nature of cultural, spiritual, and intellectual separation which can be overcome through the physical and emotional connectivity of a simple and genuine act of ritual encounter: a honi that has compressed both time and distance across generations. In the Pacific, interpersonal encounters are characterised by a deep level of physical intimacy and engagement – from the honi/hongi, the face-to-face greeting, to the ha‘a/ haka wero, these rituals of encounter also serve as an acknowledgement of living ancestral presences. In these physical exchanges

in Curatopia
The carved stone balls of Northeast Scotland
Andrew Meirion Jones

stone balls were made we can also see that form is not a ready-made template into which matter is inserted. Rather form is provisional, and results from close engagement with matter through hammering, polishing, engraving and carving. It would be mistaken to regard these artefacts as representational, instead their forms evince traces of working. The act of taking shape does not leave shadow images to be represented; instead the act of making novel forms is embodied in the traces of working visible on the surface of each carved stone ball. Form comes to take the shape

in Images in the making
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Ing-Marie Back Danielsson and Andrew Meirion Jones

1 Introduction Ing-Marie Back Danielsson and Andrew Meirion Jones In this introduction we address and challenge long-held assumptions concerning archaeological art and images, and offer new ways to approach and understand them. Specifically, we argue that art and images continuously emerge in processes of making and engagement, both in the past and in the present. As a consequence, art and images are always in motion, multiple and unfolding. Our argument and point of departure throughout this volume contrast vividly to the traditional view of images as

in Images in the making
Art, process, archaeology

This book presents a study of material images and asks how an appreciation of the making and unfolding of images and art alters archaeological accounts of prehistoric and historic societies. With contributions focusing on case studies including prehistoric Britain, Scandinavia, Iberia, the Americas and Dynastic Egypt, and including contemporary reflections on material images, it makes a novel contribution to ongoing debates relating to archaeological art and images. The book offers a New Materialist analysis of archaeological imagery, with an emphasis on considering the material character of images and their making and unfolding. The book reassesses the predominantly representational paradigm of archaeological image analysis and argues for the importance of considering the ontology of images. It considers images as processes or events and introduces the verb ‘imaging’ to underline the point that images are conditions of possibility that draw together differing aspects of the world. The book is divided into three sections: ‘Emergent images’, which focuses on practices of making; ‘Images as process’, which examines the making and role of images in prehistoric societies; and ‘Unfolding images’, which focuses on how images change as they are made and circulated. The book features contributions from archaeologists, Egyptologists, anthropologists and artists. The contributors to the book highlight the multiple role of images in prehistoric and historic societies, demonstrating that archaeologists need to recognise the dynamic and changeable character of images.

Civil war to prosperity
Roger Forshaw

Psamtek II was succeeded in 589 BC by his son, Haaibra (Apries), who had to deal with a number of international challenges. The Egyptians were defeated when attempting to lift the Babylonian siege of Jerusalem, and again defeated when trying to prevent the expansion of the Greek colony of Cyrene. This latter engagement led to a revolt among the defeated Egyptian troops, resulting in civil war and the replacement of Haaibra by a general, Ahmose, who was later declared king. The forty-four-year rule of Ahmose (Amasis) was one of the notable periods in ancient Egyptian history which benefited from a peaceful and stable international scene. Ahmose forged a number of international alliances, he placed renewed emphasis on trade at Naukratis, further developed the oases and undertook massive building projects. There was economic and administrative reorganisation within the country which included the strengthening of the customs administration and greater tax control over the assets of the individual. The numerous economic and commercial reforms contributed to a growing prosperity in Egypt.

in Egypt of the Saite pharaohs, 664–525 BC
Nicholas Thomas

are doing, if our institutions are embedded less in academic anthropology and more in a domain of public engagement. Does anthropology remain the discipline that informs anthropological collections, to be in turn informed by them? What kinds of knowledge underpin the interpretation of collections, what methods does that interpretation involve, and what knowledge does it generate? And – to move from theory and research to public engagement – how in the early twenty-first century should anthropological collections be displayed, what stories should they tell, what

in Curatopia