Taking home a “copy” of a sculpture at the Met is exciting, but it might be even more fun to use that work as an inspiration for your own creations.
(Don Undeen 2013)
Quelle: Omnia sunt Communia: Das kulturelle Erbe hacken
Original und Kopie im ethnographischen Museum von Sophie Lembcke
In: Archive dekolonialisieren: Mediale und epistemische Transformationen in Kunst, Design und Film (Edition Kulturwissenschaft) von S. 57
Our goal is for QTM to facilitate critical dialogues between community members and museum practitioners, addressing the role that museums play in forming social norms around gender and sexuality.
Bailey, Erin und Robert, Nicole: The Faces Behind QTM, 2019, https://queeringthemuseum.org/about/the-faces-behind-qtm/ (01.2019)
My training as a historian taught me that to separate ideas of class, race, gender, sexuality, and ability from their historical contexts is to miss their true meanings—the real power that they hold in American society to shape and define people’s lives.
https://queeringthemuseum.org/2015/11/25/crgcgp-class-race-gender-sexuality-ability-and-museums/
Walker, William S. associate professor of history at the Cooperstown Graduate Program (SUNY Oneonta). He is the author of A Living Exhibition: The Smithsonian and the Transformation of the Universal Museum and a lead editor for History@Work, the blog of the National Council on Public History.
„In a period of barely twenty years, digital techniques have left the research laboratories and integrated with established means of production and exhibition. With the emergence of the computer, entirely new ways of making images, together with
ways of assisting and augmenting established methods and techniques have
become commonplace within contemporary forms of visual cultural production.“
“Clearly a new aesthetic space has opened up within contemporary culture, one which owes its existence to digital technology. It is important to stress, however, that this debt is by no means absolute. The computer is vital to understanding the make-up of the forms whose development we have just sketched, yet it is not the only agency explaining what they are and how they have come to be that way. The computer has not shaped the aesthetic character of these forms all by itself, as – taken on its own – an account such as the one above
might be mistaken for suggesting.”
Andrew Darley, Visual Digital Culture (2000)
John Whitney, Sr. (April 8, 1917 – September 22, 1995), war ein amerikanischer Animationskünstler, Komponist und Erfinder. Er wird auch als einer der Väter der Computer Animation bezeichnet.