... across many different kinds of museums, it was arguably most overt in the creation of the West Gate Prison Museum. When the West Gate Prison Museum opened in 1998, even its name reflected the direction of the exhibition inside, which sought to highlight the colonial-period history of the prison rather...

... the museum objectifies and naturalizes its artifacts and how it manufactures a particular way of viewing an exhibited culture. The museum in question is the National Museum of Natural Science in Taichung, Taiwan, with its exhibition...

.... Hahn is associate professor of art history at Kalamazoo College. She received her PhD in 2009 from the University of Chicago. She is the author of “Exhibition as Archive: Beaumont Newhall, Photography 1839–1937, and the Museum of Modern Art,” published...

... include opera, puppetry, animation fandom, and figurine design in Taiwan, Hong Kong, and Southeast Asia. She has published in Cultural Anthropology, the Journal of Linguistic Anthropology, Mechademia, and positions, and has curated a museum...

... of these groups through an artist's recollection. Copyright 2013 by Duke University Press 2013 Figure 1  Poster of Kyu¯shu¯-ha­ Exhibition at Ginza Gallery in Tokyo, 1961. Photo courtesy the Fukuoka Art Museum. Courtesy of the artist A Woman and Collectives: An Interview with Tabe Mitsuko Midori...

.... Image courtesy of the Museum of Osaka University exhibitions. By its nature and scale a collaborative site, the stage challenged the already delicate balance between individual and community in Gutai even further. Not only did Gutai artists...

... the photograph was taken, Moriyama reflected, “I am still, to this day, left with the impression of the signage for an optician's clinic which had profusely caught my eye.” 4 It caught my eye too. 1 For an example of a museum exhibit on the centenary of “The Uncanny,” see the Freud Museum London's...

...,in the early postwar period the curators had to contend with the preference of Japanese museum-goers for exhibits of foreign works. The blockbuster shows at the Tokyo National Museum in the 1950s and early 1960s were generally of European works of art...

..., and on the second day I visited the exhibit, I made an association to the new Holocaust museum in Washington, D.c., where there are displayed piles of shoes and glasses that belonged to Jews who were exterminated during World War 11. For rea...

... of establishing connections and harvesting respect. On the other hand, the performers are concerned when their masks are exposed to cameras. They usually keep their own masks, unlike those specially made for museum exhibition and media display, under a white cloth. For the local people, these items possess sacred...

... as objects of cul- tural and historical value, circulating in various contexts of reception, partic- ularly the art historical.11 As such they have been exhibited in art museums several times before. Many depict graphic scenes of battle action...

... that commemorative summer to make “memory” their common theme. Washington would not have seen such numbers of museum goers with- out the months of media attention focused on the Smithsonian Institution’s controversial exhibit...

... into sharper relief. A Benjaminian approach to advertising as a dream-image is explained in the next section, which also elaborates on the implications of putting advertisements in a museum. Further, I introduce the museum itself and contextualize its exhibits within recent South Korean history and notions...

... dantai reng-ten­ ), which is held in Ueno at the Tokyo Metropolitan Art Museum in May that year, sponsored by the Mainichi newspaper company. Upon Noriko’s remark, “I haven’t been to Ueno for a long time,” they decide to visit the exhibition...

... day—exploring theatrical and nontheatrical film and radio, many of which are recent findings from audiovisual archives in Asia and beyond, and museum exhibitions showing the reconstruction and proliferation of narratives enabled by new digital technologies. Rather than focusing on a specific...

...Lisa Yoneyama Copyright © 1997 by Duke University Press 1997 Critical Warps: Facticity, Transformative Knowledge, and Postnationalist Criticism in the Smithsonian Controversy Lisa Yoneyama The exhibition by the Smithsonian National Air and Space Museum...

..., envisioned Japan as a museum, both the repository of Asian culture and a living exhibit of this legacy functioning in the contemporary world.1 The il- lustrated, Western-language, promotional quarterly NIPPON (1934–1944) was an invitation to tour...

... the emerging discipline of anthropology, and indeed they were involved in staging many of them. Yet, most discussions of the practices of museums and exhibitions — especially in displaying other ethnicities — have focused on how different cultures...

... adopted at the Chinese Exhibition at Burlington House a few years ag0.”3* The display was to prove even less “permanent” than any other such presentation, being necessarily dismantled when the Museum’s entire collections were...