The last few days has seen a Twitter debate on the use of museum-based public domain digital images by a company called ‘Global Art Museum’ who used these images to create non-fungible tokens (NFTs), a type of token that can be used to create ownership over digital images. While it turned out to be a ‘social experiment’, Frances Liddell reflects on the use of these images by this company and considers the questions this experiment raises.
Librarians who began practising in the last twenty years have had the phrases, ‘the death of the book,’ and ‘the end of libraries’ ringing in our ears for much of our careers. Yet, relegate a book to the store and you unleash a flood of emails to the University Librarian. If libraries are dying, a lot of people haven’t noticed. One of the finest characteristics of humans is our ability to share. In the academic library context this has meant, and is still defined by the Library’s contribution to the archiving and discovery of human activity. At the heart of all universities, the library in its many facets continues to balance tensions between print and digital collections, between the demands of teaching and research, between the humanities and sciences, and perhaps most importantly, between access to research information and support for its creation in academic practice.
This article presents some of the methods used to provide emotional support to volunteers working with the Manchester Together Archive (MTA) during a recent partnership project between Manchester Art Gallery, Archives+ and the University of Manchester, supported by the National Lottery Heritage Fund. The MTA is made up of thousands of tributes that were left in St Ann’s Square and other locations by members of the public following the attack at Manchester Arena on 22 May 2017. The material carries a heavy emotional load, so project staff aimed to design a volunteering programme that supported the emotional wellbeing of volunteers. The methods shared here will be of particular relevance to archivists managing volunteers working with trauma-related collections, which might include organisations engaged in contemporary collecting around COVID-19.
This Insight looks at the temporary exhibition “We Capitalists. From Zero to Turbo” at the Bundeskunsthalle in Bonn, Germany, which was opened on 12 March 2020 and closed again two days later. The experience of lockdown was also sadly felt as a loss of voice, especially as the exhibition had the potential to serve as a meaningful commentary to aspects of the evolving COVID-19 crisis. This period of speechlessness clearly exemplified how exhibitions can or cannot be active, bringing the medium of the exhibition to its limits.
Over the last weeks, activists in Europe and the US attacked statues of figures perceived to be representations of colonialism, imperialism, and racism. Such symbolic acts inspired similar protests across a wide variety of national communities – those involved citing a need for immediate justice and reparations for historical wrongdoings. But will removal and destruction of monuments result in necessary structural and systemic changes? This piece argues that reforms of social, punitive, and economic policy are necessary if we are to transform removal into something more than a Pyrrhic victory. The application of restorative justice that permeates all systems is required.
As museums around the world have increasingly committed to making themselves digitally accessible to the public during lockdown, we have been flooded by new cultural content available online. While Italian museums have been mainly involved in a “broadcasting” approach, museums in other countries have strived to enable new and different engagement with audiences. What do these two approaches tell us about the roles museums want to fulfil and the relationship they want to create with their communities?
What can museums learn from other cultural institutions addressing conflict, memory and transitional justice to support communities during transitional periods? Art, culture and heritage play a fundamental role in restorative justice, due to its capacity to create healing bonds between victims, perpetrators, society and the State. Drawing on Colombia’s experience, Catalina Delgado Rojas highlights four actions that can inspire museums to provide comfort and support to communities transitioning to a post-pandemic world.
We often refer to the ‘texture’, the ‘materiality’ and the ‘tactility’ of artworks, even though we cannot touch them. Florrie Badley considers the additional barriers facing object-based researchers due to the outbreak of COVID-19, reflecting on how we were already responding to issues of distance, separation and forbidden touch in the gallery space before the pandemic.
The last decade has seen a growing interest amongst museum professionals in developing a curatorial practice grounded in affect. In this Insight, Susana Sanchez-Gonzalez reflects on possible currents of affection that might be elicited by books during the pandemic, and how this may inform her research on the theory and practice of book exhibitions.
Jenny Marsden reflects on the work that has taken place with the Manchester Together Archive over the last 18 months, focusing on the volunteering programme to catalogue and digitise the material, and the visits and workshops that have helped the archive team understand more about how people would like to access and use the tributes in the archive. The insight also considers the public response to the Manchester Attack in 2017 in the context of the COVID-19 global pandemic.