The other on display: translation in the Ethnographic Museum

The ethnographic museum in the West has a long and troubling history. The display of 'exotic peoples' in travelling exhibitions began as early as the sixteenth century, but it was the mid and late nineteenth century that saw the great expansion of museums as sites to show artefacts collected - under anything but reputable circumstances - from what were considered the 'primitive', 'natural', or 'tribal' peoples of the world. Today the ethnographic museum is still a feature of large European cities, though faced with newly formulated dilemmas in the postcolonial world. For how can the material culture of a non-western people be collected and displayed in the West without its makers being translated into wordless and powerless objects of visual consumption? In national museums the processes of choosing, contextualizing and commentating exhibits help form national identity; in the ethnographic museum, similarly, they shape perceptions of the apparently distant Other. Like written ethnography, the museum is a 'translation of culture', with many of the associated problems traced by Talal Asad (1986). Like the written form, it has to represent the dialogic realities of cultural encounters in a fixed and intelligible form, to propose categories that define and order the material it has gathered. As the public face of academic ethnography, the museum interprets other cultures for the benefit of the general reader, and in that task museum practice, like all ethnography, operates within very specific historical and political parameters. How are museums in western Europe responding to the issues raised by critical ethnographers like James Clifford (1988), with their focus on the politics of representation? Is globalisation increasing the degree of accountability imposed on the ethnographic museum, or merely reinforcing older patterns? What opportunities and problems are raised by the use of more words - more 'translation' in the narrower sense - in ethnographic museums, and how do museums gain from introducing a reflexive and contextualizing concept of "thick translation" (Appiah 1993) into their work of interpretation?

Development, Annotation and Protection of Digital Archive “Bulgarian Folklore Heritage”

The key to prosperity in today's world is access to digital content and skills to create new content. Investigations of folklore artifacts is the topic of this article, presenting research related to the national program „Knowledge Technologies for Creation of Digital Presentation and Significant Repositories of Folklore Heritage” (FolkKnow). FolkKnow aims to build a digital multimedia archive "Bulgarian Folklore Heritage” (BFH) and virtual information portal with folk media library of digitized multimedia objects from a selected collection of the fund of Institute of Ethnology and Folklore Studies with Ethnographic Museum (IEFSEM) of the Bulgarian Academy of Science (BAS). The realization of the project FolkKnow gives opportunity for wide social applications of the multimedia collections, for the purposes of Interactive distance learning/self-learning, research activities in the field of Bulgarian traditional culture and for the cultural and ethno-tourism. We study, analyze and implement techniques and methods for digitization of multimedia objects and their annotation. In the paper are discussed specifics approaches used to building and protect a digital archive with multimedia content. Tasks can be systematized in the following guidelines: * Digitization of the selected samples * Analysis of the objects in order to determine the metadata of selected artifacts from selected collections and problem areas * Digital multimedia archive * Socially-oriented applications and virtual exhibitions artery * Frequency dictionary tool for texts with folklore themes * A method of modern technologies of protecting intellectual property and copyrights on digital content developed for use in digital exposures.

Knowledge-based Virtual Reconstruction of Museum Artifacts

Within the framework of heritage preservation, 3D scanning and modeling for heritage documentation has increased significantly in recent years, mainly due to the evolution of laser and image-based techniques, modeling software, powerful computers and virtual reality. 3D laser acquisition constitutes a real development opportunity for 3D modeling based previously on theoretical data. The representation of the object information rely on the knowledge of its historic and theoretical frame to reconstitute a posteriori its previous states. This project proposes an approach dealing with data extraction based on architectural knowledge and Laser statement informing measurements, the whole leading to 3D reconstruction. The experimented Khmer objects are exposed at Guimet museum in Paris. The purpose of this digital modeling meets the need of exploitable models for simulation projects, prototyping, exhibitions, promoting cultural tourism and particularly for archiving against any likely disaster and as an aided tool for the formulation of virtual museum concept.

Close-Up of Charles and Betty Perry in their Palm Beach Home

Close-Up of Charles and Betty Perry in their Palm Beach Home. Charles Edward Perry (Chuck), 1937-1999, was the founding president of Florida International University in Miami, Florida. He grew up in Logan County, West Virginia and received his bachelor's and masters's degrees from Bowling Green State University. He married Betty Laird in 1960. In 1969, at the age of 32, Perry was the youngest president of any university in the nation. The name of the university reflects Perry’s desire for a title that would not limit the scope of the institution and would support his vision of having close ties to Latin America. Perry and a founding corps opened FIU to 5,667 students in 1972 with only one large building housing six different schools. Perry left the office of President of FIU in 1976 when the student body had grown to 10,000 students and the university had six buildings, offered 134 different degrees and was fully accredited. Charles Perry died on August 30, 1999 at his home in Rockwall, Texas. He is buried on the FIU campus in front of the Graham Center entrance. Betty Laird Perry was born Betty Laird in Ashland, Ohio. She attended Akron General Hospital School of Nursing, where she was the president of the Akron, Ohio TriCity Student Government Association. She received a 3 year diploma in nursing in 1960 and took her state board exams for licensure as an RN that same year. Ultimately, she became licensed in Ohio, Florida and Texas. She met Charles Perry in 1959 and the couple married on September 17, 1960, in Ashland, Ohio; the same week of her graduation. Betty began her nursing career at the Bowling Green State University campus Health Center while Chuck worked on the Admissions staff. In 1974, Mrs. Perry received her BSN from Florida International University and in 1985 she earned a Master's Degree in Healthcare Policy and Planning from Georgia State University. She went on to start her own business, BC Golf, Ltd., in 1992 where she was recognized by Cambridge’s Who's Who for demonstrating dedication, leadership and excellence in business management. Betty’s passion for art is reflected in the Student Art Award at Florida International University which she and Charles Perry started. In 2010-2011, Betty made a generous donation to the Patricia & Phillip Frost Art Museum Building Fund at Florida International University where she has a gallery named in her honor that is dedicated to student, faculty, and alumni exhibitions.

Charles and Betty Perry in their Palm Beach Home.

Charles and Betty Perry in their Palm Beach home. Charles Edward Perry (Chuck), 1937-1999, was the founding president of Florida International University in Miami, Florida. He grew up in Logan County, West Virginia and graduated from Bowling Green State University. He married Betty Laird in 1960. In 1969, at the age of 32, Perry was the youngest president of any university in the nation. The name of the university reflects Perry’s desire for a title that would not limit the scope of the institution and would support his vision of having close ties to Latin America. Perry and a founding corps opened FIU to 5,667 students in 1972 with only one large building housing six different schools. Perry left the office of President of FIU in 1976 when the student body had grown to 10,000 students and the university had six buildings, offered 134 different degrees and was fully accredited. Charles Perry died on August 30, 1999 at his home in Rockwall, Texas. He is buried on the FIU campus in front of the Graham Center entrance. Betty Laird Perry was born Betty Laird in Ashland, Ohio. She attended Akron General Hospital School of Nursing, where she was the president of the Akron, Ohio TriCity Student Government Association. She received a 3 year diploma in nursing in 1960 and took her state board exams for licensure as an RN that same year. Ultimately, she became licensed in Ohio, Florida and Texas. She met Charles Perry in 1959 and the couple married on September 17, 1960, in Ashland, Ohio; the same week of her graduation. Betty began her nursing career at the Bowling Green State University campus Health Center while Chuck worked on the Admissions staff. In 1974, Mrs. Perry received her BSN from Florida International University and in 1985 she earned a Master's Degree in Healthcare Policy and Planning from Georgia State University. She went on to start her own business, BC Golf, Ltd., in 1992 where she was recognized by Cambridge’s Who's Who for demonstrating dedication, leadership and excellence in business management. Betty’s passion for art is reflected in the Student Art Award at Florida International University which she and Charles Perry started. In 2010-2011, Betty made a generous donation to the Patricia & Phillip Frost Art Museum Building Fund at Florida International University where she has a gallery named in her honor that is dedicated to student, faculty, and alumni exhibitions.

Miami Art Show, June 1, 1974

Dahlia Morgan with Charles Perry. In the late 1970s, FIU had an enrollment of less than 5,000 and two buildings made up the entire campus. Adjunct professor, at the time, Dahlia Morgan was asked to take over the art museum, which was then called the Visual Arts Gallery. During her long career with Florida International University, Dahlia Morgan transformed a modest student gallery on the Miami campus into an internationally celebrated art museum. In 1980, after teaching for five years in the visual arts department she accepted the directorship of the university’s Patricia & Phillip Frost Art Museum (formerly the Art Museum at FIU). As director and curator, Morgan instituted a lecture series, increased the frequency of exhibitions and developed numerous other programs including a student internship program. The Steven and Dorothea Green Critics’ Lecture Series was started by Morgan in 1981 and has now organized, hosted and presented over 100 lectures by internationally renowned artists, critics and scholars who include Pierre Rosenberg, former Director of the Louvre; Hilton Kramer, Art Critic; Helen Frankenthaler, American artist; and Michael Graves, architect and designer. In 1985 Morgan started the exhibition series “American Art Today,” which featured an annual examination of a specific subject or concept in American Art. Morgan curated and organized over 200 exhibitions during her directorship. Under Morgan, the Frost Art Museum grew to achieve local, national and international recognition as one of South Florida’s key cultural institutions. In 1999 the museum received accreditation from the American Association of Museums and in 2001 became an affiliate of the Smithsonian Institution. With the turn of the 21st Century the initiative to build a new facility took shape and in 2008, the new 46,000 square foot Patricia and Phillip Frost Art Museum opened to the public. Morgan is a four time National Endowment for the Arts Grants Panelist and member of the Art Basel Miami, Host Committee. She is listed in “Who’s Who in American Art” and in “Who’s Who of American Women.” Morgan’s largest accomplishment was seeing the completion of the 45,000 square foot Frost Art Museum built across from the Wertheim Performing Arts Center. Morgan’s fund raising techniques helped her raise over $12 million for its development. For 25 years, Morgan has served as director of FIU’s Frost Art Museum.

Miami Art Show, June 1, 1974

In the late 1970s, FIU had an enrollment of less than 5,000 and two buildings made up the entire campus. Adjunct professor, at the time, Dahlia Morgan was asked to take over the art museum, which was then called the Visual Arts Gallery. During her long career with Florida International University, Dahlia Morgan transformed a modest student gallery on the Miami campus into an internationally celebrated art museum. In 1980, after teaching for five years in the visual arts department she accepted the directorship of the university’s Patricia & Phillip Frost Art Museum (formerly the Art Museum at FIU). As director and curator, Morgan instituted a lecture series, increased the frequency of exhibitions and developed numerous other programs including a student internship program. The Steven and Dorothea Green Critics’ Lecture Series was started by Morgan in 1981 and has now organized, hosted and presented over 100 lectures by internationally renowned artists, critics and scholars who include Pierre Rosenberg, former Director of the Louvre; Hilton Kramer, Art Critic; Helen Frankenthaler, American artist; and Michael Graves, architect and designer. In 1985 Morgan started the exhibition series “American Art Today,” which featured an annual examination of a specific subject or concept in American Art. Morgan curated and organized over 200 exhibitions during her directorship. Under Morgan, the Frost Art Museum grew to achieve local, national and international recognition as one of South Florida’s key cultural institutions. In 1999 the museum received accreditation from the American Association of Museums and in 2001 became an affiliate of the Smithsonian Institution. With the turn of the 21st Century the initiative to build a new facility took shape and in 2008, the new 46,000 square foot Patricia and Phillip Frost Art Museum opened to the public. Morgan is a four time National Endowment for the Arts Grants Panelist and member of the Art Basel Miami, Host Committee. She is listed in “Who’s Who in American Art” and in “Who’s Who of American Women.” Morgan’s largest accomplishment was seeing the completion of the 45,000 square foot Frost Art Museum built across from the Wertheim Performing Arts Center. Morgan’s fund raising techniques helped her raise over $12 million for its development. For 25 years, Morgan has served as director of FIU’s Frost Art Museum.

Miami Art Show, June 1, 1974

In the late 1970s, FIU had an enrollment of less than 5,000 and two buildings made up the entire campus. Adjunct professor, at the time, Dahlia Morgan was asked to take over the art museum, which was then called the Visual Arts Gallery. During her long career with Florida International University, Dahlia Morgan transformed a modest student gallery on the Miami campus into an internationally celebrated art museum. In 1980, after teaching for five years in the visual arts department she accepted the directorship of the university’s Patricia & Phillip Frost Art Museum (formerly the Art Museum at FIU). As director and curator, Morgan instituted a lecture series, increased the frequency of exhibitions and developed numerous other programs including a student internship program. The Steven and Dorothea Green Critics’ Lecture Series was started by Morgan in 1981 and has now organized, hosted and presented over 100 lectures by internationally renowned artists, critics and scholars who include Pierre Rosenberg, former Director of the Louvre; Hilton Kramer, Art Critic; Helen Frankenthaler, American artist; and Michael Graves, architect and designer. In 1985 Morgan started the exhibition series “American Art Today,” which featured an annual examination of a specific subject or concept in American Art. Morgan curated and organized over 200 exhibitions during her directorship. Under Morgan, the Frost Art Museum grew to achieve local, national and international recognition as one of South Florida’s key cultural institutions. In 1999 the museum received accreditation from the American Association of Museums and in 2001 became an affiliate of the Smithsonian Institution. With the turn of the 21st Century the initiative to build a new facility took shape and in 2008, the new 46,000 square foot Patricia and Phillip Frost Art Museum opened to the public. Morgan is a four time National Endowment for the Arts Grants Panelist and member of the Art Basel Miami, Host Committee. She is listed in “Who’s Who in American Art” and in “Who’s Who of American Women.” Morgan’s largest accomplishment was seeing the completion of the 45,000 square foot Frost Art Museum built across from the Wertheim Performing Arts Center. Morgan’s fund raising techniques helped her raise over $12 million for its development. For 25 years, Morgan has served as director of FIU’s Frost Art Museum.

Betty Perry in the Perry's Palm Beach Home

Betty Perry in the Perry's Palm Beach Home. Betty Laird Perry was born Betty Laird in Ashland, Ohio. She attended Akron General Hospital School of Nursing, where she was the president of the Akron, Ohio TriCity Student Government Association. She received a 3 year diploma in nursing in 1960 and took her state board exams for licensure as an RN that same year. Ultimately, she became licensed in Ohio, Florida and Texas. She met Charles Perry in 1959 and the couple married on September 17, 1960, in Ashland, Ohio; the same week of her graduation. Betty began her nursing career at the Bowling Green State University campus Health Center while Charles worked on the Admissions staff. In 1974, Mrs. Perry received her BSN from Florida International University and in 1985 she earned a Master's Degree in Healthcare Policy and Planning from Georgia State University. Betty and Charles went on to start their own business , BC Golf, Ltd., in 1992. Betty was later recognized by Cambridge’s Who's Who for demonstrating dedication, leadership and excellence in business management. Betty’s passion for art is reflected in the Student Art Award at Florida International University which she and Charles Perry started in the 1970's. In 2010-2011, Betty made a generous donation to the Patricia & Phillip Frost Art Museum Building Fund at Florida International University where she has a gallery named in her honor that is dedicated to student, faculty, and alumni exhibitions.

Keynote Address by Karim Rashid

Karim Rashid is one of the most prolific designers of his generation. Over 3000 designs in production, over 300 awards and working in over 35 countries attest to Karim’s legend of design. Karim’s diversity affords him the ability to cross-pollinate ideas, materials, behaviors, aesthetics from one typology to the next, crossing boundaries and broadening consumer horizons. His award winning designs include democratic objects such as the ubiquitous Garbo waste can and Oh Chair for Umbra, interiors such as the Morimoto restaurant, Philadelphia and Semiramis hotel, Athens and exhibitions for LG Hausys and Audi. Karim has collaborated with clients to create democratic design for Method and Dirt Devil, furniture for Artemide and Magis, brand identity for Citibank and Hyundai, high tech products for LaCie and Samsung, and luxury goods for Veuve Clicquot and Swarovski, to name a few. Karim has recently been selected to design several real estate developments in New York City for HAP Investments, a New York City based International investment group. Karim’s work is featured in 20 permanent collections and he exhibits art in galleries world wide. Karim is a perennial winner of the Red Dot award, Chicago Athenaeum Good Design award, I.D. Magazine Annual Design Review, IDSA Industrial Design Excellence award. He holds honorary doctorates from the Ontario college of Art & Design and Corcoran College of Art & Design. 2011 highlighted Karim’s largest retrospective to date at the Triennale, in Milan, Italy. Karim is a frequent guest lecturer at universities and conferences globally disseminating the importance of design in everyday life. Karim has been featured in magazines including Time, Financial Times, NY Times, Esquire, GQ and countless more. His books include From the Beginning, Forma Edizioni (2014), Sketch, Frame (2012), a monograph of 300 drawings and computer renderings of selected works, KarimSpace, Rizzoli (2009), Design Your Self, Harper Collins (2006), Evolution, Rizzoli (2004) and I Want to Change the World, Universe (2001). In his spare time Karim’s pluralism flirts with art, fashion, and music and is determined to creatively touch every aspect of our physical and virtual landscape.

Mobile architecture : offering new perceptions of the city

The purpose of this thesis is to explore the design of mobile architecture that challenges traditional ideas of site through the design of a museum to commemorate immigration to the United States. This thesis develops a floating, moveable, inhabitable structure that moves on the inter-coastal waterways of South Florida, within the public areas of Miami. The floating museum offers new perceptions of the city and new means of occupying its various settings. Its architectural elements do not change but are read differently in each location. The museum brings its exhibitions to the city as an event. One moment it is there and the next it is gone. In its design, the Museum of Immigration explores the experience of leaving one place to settle in another. As a prototype, it might be the first in a series of such buildings around the country that offers a new relationship between building and site.

Exhibition hall at International Women's Year conference in Houston

General note: Title and date provided by Bettye Lane.

Reimagining the Baroque in Italian Modernism. From the fin-de-siècle to Lucio Fontana

While Italian art of the twentieth century is usually associated with either the avant-garde practices of Futurism or the classicism of Fascist visual culture, the Italian modernists' complex engagement with concepts of the ‘Baroque’ has yet to be explored. Through an extensive analysis of paintings, sculptures, publications, collecting practices, and exhibitions, my dissertation addresses this lacuna by investigating how the Baroque was discursively constructed and visually represented in Italian modernist artistic and cultural debates between 1880 and 1945. I study how artists and critics such as Umberto Boccioni, Giorgio De Chirico, Adolfo Wildt, Lucio Fontana, and Roberto Longhi championed or disparaged the Baroque in the context of heated debates over the import of Italy’s rich cultural heritage, its status in modern Europe, and the potential role of avant-garde art as a catalyst for national regeneration. In contrast to previous scholars I argue that the development of modern art in Italy was actively shaped by cultural perceptions about the Baroque. My dissertation therefore sheds new light on the role of style in the cultural politics of Italy, which in turn will transform our understanding of visual culture in modern Italy, and of twentieth-century representations of the Baroque in art, literature, and aesthetics.

9 Events

An exhibition in the Dyson gallery with Tina O'Connell and Neal White, in association with Objectif Exhibitions, Antwerp. Tina O'Connell and Neal White present 9 Events, a series of experiments and observations, talks and films drawn from their on-going artistic interest in the raw resources that are a key index of wealth in a market based society - from oil to diamonds and gold. The work is made in the context of emerging ideas of environmental and geological change within the flood of unchecked global capital. As with other works and projects undertaken by the artists, the space is used as a platform through which temporality can be explored. In this sense, the use of the RCA's Dyson exhibition space and its wider context for the presentation on objects or artefacts is reconfigured through perspectives of energy, action and reaction, collapse and control, via simulation, derivation, extraction and exchange.

Sites of Excavation and Construction

For his first solo show in Belgium, British artist Neal White presents a range of recent and new work – some of them in collaboration with artist Tina O’Connell – that reflect his ongoing preoccupations with deep time and the spaces of art. OBJECTIF EXHIBITIONS is a not-for-profit institution devoted to the presentation of contemporary art, supported by the Flemish Community. Curated by Antony Hudek