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Collection Highlights

Across Anthropology Troubling Colonial Legacies Museums

and the Curatorial Margareta Von Oswald (Editor)

A Bouquet of Numbers and Other Scientific Offerings Jeremy

Bernstein

A Spinster for a Spy A Duke s Daughters The Elbury Bouquet

1 1st Edition Arietta Richmond

Anthropology Matters Shirley A. Fedorak

Intersections of Contemporary Art, Anthropology and Art
History in South Asia: Decoding Visual Worlds Sasanka
Perera

Digital Anthropology Heather A. Horst (Ed.)

The Future of Museums Gerald Bast

Museums in Motion An Introduction to the History and

Functions of Museums 3rd Edition Edward P. Alexander

Anthropology: A Global Perspective 9th Edition Raymond

Scupin
Museums
Key Texts in the Anthropology of Visual and Material Culture
Editor: Marcus Banks

Key Texts in the Anthropology of Visual and Material Culture is an innovative series of acces-
sible texts designed for students. Each volume concisely introduces and analyses core topics
in the study of visual anthropology and material culture from a distinctively anthropological
perspective.

Titles in this series include:

Cinema: A Visual Anthropology
Museums: A Visual Anthropology
 Museums
A Visual Anthropology

Mary Bouquet

London • New York

 English edition
First published in 2012 by
Berg
Editorial offices:
50 Bedford Square, London WC1B 3DP, UK
175 Fifth Avenue, New York, NY 10010, USA

© Mary Bouquet 2012

All rights reserved.

No part of this publication may be reproduced in any form
or by any means without the written permission of
Berg.

Berg is an imprint of Bloomsbury Publishing Plc.

Library of Congress Cataloguing-in-Publication Data

A catalogue record for this book is available from the Library of Congress.

British Library Cataloguing-in-Publication Data

A catalogue record for this book is available from the British Library.

ISBN 978 1 84520 811 0 (Cloth)

978 1 84520 812 7 (Paper)
e-ISBN 978 0 85785 211 3 (institution)
978 0 85785 212 0 (individual)

www.bergpublishers.com
For Henk
 Contents

List of Illustrations viii

Acknowledgements x
Introduction 1
1 Museums in the Twenty-first Century 11
Introduction 12
Sites and Websites: Teylers Museum 13
www.teylersmuseum.nl 14
From Private Collection to Public Museum 19
Evergetic and Donor Museums 22
Teyler’s Portrait 25
Visiting Teyler’s Foundation House 28
Conclusion 30
Key Concepts 31
Exercises 31
Further Reading 32

2 Stretching the National Museum 33

Introduction 34
Collections: The Visible and the Invisible 37
The Exhibitionary Complex 44
Internationalization 50
Conclusion 60
Key Concepts 60
Exercises 61
Further Reading 61

3 A History of Ethnographic Museums 63

Introduction 63
The First Public Ethnographic Museum in Copenhagen 67
Ethnographica and the Nineteenth-century Exhibitionary Complex 72
Classification: Geographical, Material, Functional and
Typological Ways of Ordering Ethnographic Collections 77
Aesthetic and Experiential Considerations Involved in Exhibiting
Ethnographica 81
 Conclusion 89
Key Concepts 91
Exercises 91
Further Reading 92

4 The Ethnography of Museums 93

Introduction 93
Ethnographic Fieldwork 94
Ethnographic Museums and the Ethnography of Museums 96
The Ethnography of Museums: Points of Departure 98
Paradise: An Ethnography of Collection-making 100
‘Food for Thought’: An Ethnography of Exhibition-making
at the Science Museum, London 104
‘Making the Walls Speak’: An Ethnography of Guided-tour
Encounters in Two Israeli Settlement Museums 110
Conclusion 114
Key Concepts 116
Exercises 117
Further Reading 117

5 Practices of Object Display 119

Introduction 120
Objectification: Typologies 123
Life Groups 126
The Inhabited Room 128
Modernism 131
Ethnography and Modernisms 136
Renovation 140
Conclusion 148
Key Concepts 149
Exercises 149
Further Reading 150

6 Object and Image Repatriation 151

Introduction 151
Repatriation of Human Remains 153
Repatriation of Objects 161
Visual Repatriation 171
Conclusion 177
Key Concepts 178
Exercises 178
Further Reading 179

Afterword: Teylers Revisited 181

Notes 189
Bibliography 209
Index 223

contents vii
 List of Illustrations

Cover illustration: El Lissitzky (1890, Potsjinok–1941, Schodnia), New Man (2009),

3D model after designs and a print by El Lissitzky from 1923, constructed by Henry
Milner, collection Van Abbemuseum, Eindhoven.

Figure i.1  Advertisement for the Natural History Museum on the London Under-
ground, October 2009.   p. 2
Figure 1.1 The front door to Teyler’s eighteenth-century dwelling house, Haarlem,
the Netherlands, with the sign directing visitors to the museum and
library entrance around the corner.   p. 11
Figure 1.2 The nineteenth-century entrance to Teylers Museum, Haarlem.   p. 16
Figure 1.3 A trolley emerges from the Foundation House into the Oval Room,
May 2008.   p. 28
Figure 1.4 The directors of Teyler’s Foundation, May 2006, in front of Wybrand
Hendriks’s group portrait of the directors of Teyler’s Foundation in
1789.   p. 29
Figure 2.1 Jean Nouvel’s rendering of the exterior for the Louvre Abu Dhabi.
p. 33
Figure 2.2 Banner with Damien Hirst’s For the Love of God on the main façade of
the Rijksmuseum, Amsterdam, late 2008.   p. 33
Figure 2.3 Rijksmuseum Schiphol Amsterdam—‘the first museum in the world to
have an annexe in an airport and . . . the first airport to have a museum
in its terminal.’   p. 57
Figure 2.4 Simon Starling dropping one of the three replicas of Artus Quellinus’s
Atlas sketch in the atrium of the Rijksmuseum’s Ateliergebouw, 18 April
2008.   p. 59
Figure 3.1 A number of Albert Eckhout’s ethnographic portraits in the ‘Peoples of
the Earth’ exhibition at the Danish National Museum, Copenhagen.
p. 63
Figure 3.2 The Great Exhibition in Hyde Park, London, 1851.   p. 73
Figure 3.3 Interior of the Pitt Rivers Museum, taken from the Upper Gallery look-
ing west towards the entrance from the University Museum.   p. 79
Figure 3.4 Indigenous guard of honour at the main entrance to the Dundo Museum,
Angola, awaiting the Portuguese president’s arrival, in 1954.   p. 87
Figure 4.1 Photograph of the Yimar headmask from the Oporto collection.
p. 97
Figure 4.2 Zacharias and Wik calculating the distribution of pork at O’Hanlon’s
leaving party.   p. 103
Figure 4.3 Sharon Macdonald in the in-store bakery on the opening day of ‘Food
for Thought’ at the Science Museum, London.   p. 109
Figure 4.4 A pioneer’s tent in the Yifat Museum.   p. 112
Figure 5.1 Donations on display at the British Museum.   p. 120
Figure 5.2 Typological series of boomerangs, from Australia, India and Africa,
published by Pitt Rivers.   p. 123
Figure 5.3 Performance of a Hamat’sa, World’s Columbian Exposition, Chicago,
1893.   p. 126
Figure 5.4 The Hindeloopen Room with mannequins.   p. 128
Figure 5.5 Northwest Coast Indian Gallery of the American Museum of Natural
History in 1943.   p. 132
Figure 5.6 Expressionist and Exotic Art Gallery, showing contemporary painting
and tribal art exhibited together in 1915 at the Karl Ernst Osthaus Mu-
seum in Hagen, later the Folkwang Museum, Essen.   p. 134
Figure 6.1 View of part of the exhibition ‘Raub und Restitution’, showing the
installation with Lovis Corinth’s portrait of Walther Silberstein, at the
Jewish Museum Berlin, 2008.   p. 151
Figure 6.2 George Langdon (standing right), the president of the American Mu-
seum of Natural History, presents a framed print of George Hunt’s 1904
photograph of the Whalers’ Shrine to Mowachaht/Muchalat chiefs and
council spokesperson Larry Andrews (left). In the foreground, museum
director Bill Moynihan (left) is seated next to Nuu-chah-nulth Tribal
Council president George Watt.   p. 166
Figure 6.3 The replica G’psgolox Pole presented to the Swedish National Mu-
seum of Ethnography as part of the exchange to retrieve the original
G’psgolox Pole, 2011.   p. 170
Figure A.1 Teylers Museum, the Oval Room, May 2011.   p. 181

list of illustrations ix
 Acknowledgements

First, thanks go to Marcus Banks for inviting me to write this volume for his series
and for his encouragement throughout. My debt to Maarten Prak for his unwavering
support for this project—even when, at times, he must have wondered whether it was
ever going to end—is great. His initial help in getting the project off the ground and
sustained enthusiasm throughout the writing process were indispensable. I gratefully
acknowledge the Netherlands Scientific Organisation (NWO) grant that enabled me
to free up nine precious months for thinking and writing in 2008. Teaching museum
studies as part of a liberal arts and sciences bachelor programme in the Netherlands
is a privileged position from which to contemplate the development and meaning
of museums and cultural heritage. University College Utrecht is a challenging and
stimulating professional environment; many colleagues actively supported this ven-
ture, and I thank them all for their generous understanding. I will mention a few
by name: Rob van der Vaart, whose supportive interest in museums and heritage
has been crucial to completing this book, and Aafke Komter and Orlanda Lie, who
encouraged my efforts to write over the past years and whose trust and confidence I
value. Working with colleagues Gert-Jan Vroege, Hendrik Henrichs, Tijana Zakula
and Nana Leigh has been inspiring. Several cohorts of students have contributed to
the development of the book in different ways: their critical enthusiasm for this area
of studies—and their creativity in going further in it—is endlessly rewarding. I would
particularly like to mention the CHIP Alumni Advisory Group: Laura Kraak, Lana
Askari, Boris Cornelissen and Valerie Gersen. Many museum experts and profession-
als have shared their thoughts on changes in museum practice: these include Jan Wil-
lem de Lorm and Tim Zeedijk; Georges Petitjean; Marijke Naber; Theo Tegelaers and
Nathalie Zonnenberg; Jan Vaessen and Ad de Jong; and David van Duuren and Susan
Legêne. Their insight into museum practice is an enduring source of inspiration.
Photographs play an important part in this book and involve their own pathways
onto its pages. My sincere thanks go to the many people who have helped in various
ways to give this book its visual dimension: photographer Bert Nienhuis, Amster-
dam; the directors of Teylers Foundation, and Martijn Zegel of Teylers Museum,
Haarlem; Charlotte Huismann of Ateliers Jean Nouvel, Paris; and Cathy Wright,
Philip Grover and Chris Morton at the Pitt Rivers Museum, Oxford. Nuno Porto, in
Coimbra, reminded me of the complex biographies of photographs, such as the one
of the Dundo Museum, which he generously made available. Sharon Macdonald,
Michael O’Hanlon and Tamar Katriel generously allowed me to reproduce pho-
tographs from their respective fieldwork. Grateful thanks to Jorge Freitas Branco,
Manuela Cantinho and Carlos Ladeira, in Lisbon, for their timely help; and to
Director Nuno Ferrand de Almeida and Curator Maria José Cunha of the Natural
History Museum of the University of Oporto, for granting permission to reproduce
the photograph of the Yimar headmask. Thanks are also due to Gregory August
Raml and Alexander Ebrahimi-Navissi of the American Museum of Natural History
for their assistance; to John van Geffen, of Tresoar; and to Jesper Kurt-Nielsen of the
Etnografisk Samling, Copenhagen. I am very grateful to the Jewish Museum Berlin,
and to Dr. Gerhard Stahr (head of the division of legal affairs), Michael Dorrmann
and Christiane Rütz, in particular. I thank Asja Kaspers and Robert Knodt of
Fotografische Sammlung, Museum Folkwang, Essen; and Annette Otterbach,
Deutsches Dokumentationszentrum für Kunstgeschichte, Bildarchiv Foto Marburg
for their assistance. I would like to express my gratitude to the carvers of the rep-
lica G’psgolox Pole, Henry Robertson, Patricia Robertson, Derek Wilson (now de-
ceased) and Barry Wilson for granting permission to reproduce the photograph of
their gift to the Etnografiska Museum, Stockholm. I thank Magnus Johansson and
Etnografiska Museum, Stockholm; and Bill McLennan, curator, Pacific Northwest
at MOA, Vancouver, for their help with this request. Simon Starling graciously al-
lowed me to reproduce a photograph taken during his Drop Sculpture project at
the Rijksmuseum (2008), and I thank Maja McLaughlin for facilitating this. The
cover photograph, taken at the Van Abbemuseum in 2009, helped to shape my
understanding of current museum dynamics; I thank Chantal Kleinmeulman of the
Van Abbemuseum.
Parts of chapters have benefited from discussion in several venues, and I am grate-
ful to Nicky Levell and Anthony Shelton in Vancouver; Helen Rees Leahy, Sharon
Macdonald and Tony Bennett in Manchester; Ann Rigney and Chiara de Cesari
in Utrecht; Saphinaz-Amal Naguib and Britta Brenna in Oslo; and the European
Science Foundation ‘Contact Zones Revisited’ Conference in Linköping, and Jen-
nifer Morgan in particular. Conversations that have taken place in various contexts
with Jorge Freitas Branco, Nuno Porto, Nelia Dias, Mike O’Hanlon, Nick Thomas,
Annie Coombes and Howard Morphy have inspired and sustained me.
This has been a slow book, and Berg commissioning editor, Anna Wright, has
shown great patience and been truly supportive as delivery finally approached. Since
then, Assistant Editor Sophie Hodgson at Berg oversaw image permissions with en-
ergy and tenacity. Tiffany Misko of Apex CoVantage guided the copyediting and

acknowledgements xi
xii acknowledgements

subsequent preproduction processes. It was a privilege to work with such profession-

als. Of course, I bear full responsibility for any remaining errors.
Visiting museums and heritage sites isn’t everybody’s cup of tea, and it was good
to be reminded to look outside the walls of the museum these past few years. So
thank you, H.J.M.R. de Haan in Delft, for your critical tegengas and eye for what
eludes the museum. And thank you, H. J. de Haan in Wageningen, for joining my
forays to look at this, or to photograph that, and for your irreplaceable help in seeing
this book through to the end—on 11 September 2011. Remembering that day, ten
years ago, and its aftermath, should be a spur to expand the basis of museums and
cultural heritage—as one of the spaces where the mutual recognition and under-
standing of values can take place.
Wageningen, 11 September 2011
Introduction

The photograph on the cover of this book introduces a number of contemporary

museum dynamics. The viewer is looking at an artwork on display at the Van
Abbe Museum, Eindhoven, the Netherlands—part of the temporary exhibition
‘Lissitzky +’.1 The figure materializes a Proun of the New Man by the Russian art-
ist El Lissitzky (1890–1941). A Proun is a design that is halfway between art and
architecture. The New Man was a character in Malevich’s Futurist opera, Victory
over the Sun, which was performed in St. Petersburg (1913) and Vitebsk (1923).
The opera inspired Lissitzky to make design sketches for electromechanical ver-
sions of the characters—including the New Man. The Van Abbe Museum’s New
Man is twice framed: by the museum window and by the view of the outside world
that it encloses. We see the sky, with its sunlit clouds, and a puff of smoke issuing
from the top of the gleaming white museum building in the foreground, and the
security camera mounted on an upper corner of that same building, which houses
a stylish public restaurant. Artworks alternating or combined with views outside,
upmarket public facilities and security cameras are standard ingredients of many
museums today. The Van Abbe Museum integrates the new, large-scale complex
by architect Abel Cahen (2009) with the renovated 1936 building by architect
Alexander Kropholler. All these aspects express different kinds of values essential
to museums as public cultural institutions today: the value of creativity and in-
novation, in making collections new and accessible for contemporary publics; the
value of renovation, bringing historical buildings into the present and combining
them with new architecture; the value of having a visible connection between the
world outside and the cultural and economic values of the collections and premises
within; and the security measures taken to protect these valuables. The renown of
museums today depends on their ability to manage and articulate their collections
and identities through a range of media.
2 museums: a visual anthropology

Figure i.1 Advertisement for the Natural History Museum on the London Underground,
October 2009. (Photo: M.R. Bouquet)

Framing the Museum

This book is written for those venturing into the large and complex field of museum
studies for the first time. It provides readers with an overview of some of the key
areas of the field today, introducing them to the historical development of public
museums from late-eighteenth-century Europe to their current diffusion worldwide.
The book can be seen as creating a pathway through some of the most important
developments in the literature and in museum practices, providing a framework for
understanding and further exploration. Each chapter addresses a distinctive area of
scholarship and museum realities, giving a fresh focus and perspective. Together, the
chapters articulate historical developments, theoretical approaches and case material.
Exercises at the end of each chapter encourage readers to experiment with the
approaches and concepts discussed, using empirical cases at their disposal.
This broad approach, connecting theory with empirical case material, has been
shaped by teaching museum studies in a liberal arts and sciences setting in Europe,
at the undergraduate level. The public museum has deep historical roots in Europe,
where its value as a scholarly and didactic resource has gained increasing recogni-
tion since the 1980s. Museums often surprise students—whether they have a back-
ground in the humanities, the social sciences or the sciences—and intrigue them as
they learn to see how these institutions occupy a crucial position in public culture.
While many disciplinary fields are involved in museum studies, I argue that
anthropology has a particular contribution to make. Participant observation, which
is at the heart of ethnographic methodology, recognizes the centrality of visually
based knowledge gained through long-term field research. Engagement with profes-
sional museum activities concerning collections, research, exhibitions and the public
is a starting point for research and reflection. It is also a way of understanding the
intersection between worlds of professional expertise and the general public.
Visual and material dimensions of social life have become central to anthropological
theories of culture in recent years. Studies of consumption have made once humble
objects of everyday life become central actors in the negotiation of purpose, value
and meaning that constitutes culture (Miller 1987) and have shown how meaning
and distinction are produced through the world of goods (Douglas and Isherwood
1978). Studies of museums question how the displays of objects transform them into
cultural valuables, illuminating the social and political processes taking place behind
the scenes (Macdonald 2002). In these ways, anthropologists have been unpicking
the taken-for-granted status of museums as authoritative leisure-time destinations,
while simultaneously acknowledging the mobility and versatility of this institution
worldwide (Stanley 2007). These are some of the ways that museums have become
sites of anthropological research into public culture.
The focus of each chapter has been shaped by major scholarly contributions to
museum studies: these include the historical ways in which collections mediate
between visible and invisible worlds (Pomian 1990), the ways in which new orders
of visibility attended the birth of the public museum and their connections to gov-
ernance and citizenship (Bennett 1995). Another influential conceptualization of
the museum is as a post-Enlightenment secular ritual site (Duncan 1995): a place
where the nation can be imagined (cf. B. Anderson 1983) and narrated using collec-
tion pieces through architectural space. The physical movement of visitors through
this scenario is what lends significance to each encounter with an artwork. Muse-
ums have also been seen as contact zones where people who were formerly spatially
and politically separated through colonialism are brought together through histori-
cal collections in new and unpredictable ways (Clifford 1997). The contact zone
was a forerunner of the relational museum project which created new knowledge
about the collections and the networks they connect (Gosden and Larson 2007).
Actor-network theory, whereby human and non-human actors exercise degrees of

introduction 3
4 museums: a visual anthropology

agency in different social fields, has proven an inspiring way of understanding certain
exhibition-­making processes (Macdonald and Basu 2007) and, perhaps, the power
of display in more general terms (Staniszewski 1998). These and many other studies
drawn on in this book help us to understand the historical development and dynam-
ics of collections, museums, exhibitions and the public.
My approach is equally formed by anthropological approaches to the study of
culture: participant observation is the basis of modern ethnography and has been
extended in distinctive ways through visual media such as film and photography
(Banks 2001). The role of these media in creating anthropological knowledge that
goes beyond the written word has been an important subject of theoretical reflec-
tion (Grimshaw 2001). The incorporation of material culture into the field of visual
anthropology, as proposed by Banks and Morphy (1997), raises equally central ques-
tions about how museum displays shape culture. Museums as media produce more
than coherent messages; they sometimes create magical, excessive effects (Henning
2006). Museum ethnographies pay particular attention to the visual and material
qualities of objects and their effects in specific contexts of practice. Visual anthropo-
logical analyses of photographs and photographic practices draw attention to what
falls beyond the frame, the material qualities of the image as an object and the way
such materials are used in social life. There are parallels between this approach and
the attention to the historical donations, exchanges, loans, uses and returns of
museum objects and images, meshed into networks of human actors in multiple
locations, in the museum context. Developments in museum studies and visual
anthropology have formed the position taken in this book. I draw on a wide range of
case studies through which to discuss issues, debates and interesting points.

Critical Museum Studies

Museums today are open, outward-looking institutions: they take pride in their
spectacular architecture, state-of-the-art exhibitions, public-friendly facilities, collec-
tion research and social consciences. They project themselves through their websites,
public advertisements and other media, thus positioning themselves in the world
and for their potential audience(s). This highly visible public presence is both fas-
cinating and problematic. Museum studies arose out of that fascination combined
with a more critical desire to understand the historical development, dynamics and
significance of this cultural institution in our world. How did museums achieve their
current high profile? What kinds of dilemmas do they face? What kind of future
lies ahead?
Museum studies developed as an area of multidisciplinary reflection on this
institution and its key role in modernity. Scholars from many different
backgrounds—including historians, art historians, anthropologists and sociologists—
became interested in the underlying dynamics of this area of public culture. Many aca-
demic disciplines had shifted from being based in the museum during the nineteenth
century to being based in the university in the twentieth century. Although museums
remained connected in significant ways to scholarly institutions, they tended to be
seen as places connected with the history of different disciplines, and no longer places
where cutting-edge research was taking place. This, however, changed as studies of
museum and collection history, exhibitions and the public began to be published,
drawing attention to critical, overarching questions about power, authority, gover-
nance and citizenship. Museum studies also developed out of museum practice itself:
those practically engaged with collections, conservation, exhibitions, education and
public communication had a professional stake in exchanging ideas and discussing
good practice—especially through national and international museum associations.
These exchanges also provided the foundations for reflection on common issues
concerning (for example) collection management and use, as well as education.
Museum studies can thus be seen as arising, at least initially, partly from the common
language needed to analyse and discuss shared concerns among professionals. Train-
ing museum professionals—curators, educators and communicators—also requires
a general understanding of the institution in order to contextualize particular tasks.
The interaction between scholars located in both settings has contributed to the
development of the field.
Critical museum studies (sometimes called ‘new museum studies’ or ‘new museol-
ogy’) developed in the 1980s, coinciding with a steep rise in the number of museums
and heritage sites and capturing the interest of scholars from many different back-
grounds, as well as museum professionals themselves (see, for example, Vergo 1989).
How was this new preoccupation with the past, and its increasing commercialization,
to be explained? How was the state involved, and what role did museums—and control
over collections—play in the reproduction of broader power relations and inequali-
ties? Contestation and debate about exhibitions and heritage sites brought out deeply
rooted disagreements among various groups about representational practices as well as
moral issues concerning the ownership of cultural property. At the same time, discus-
sion (and practice) focused on possible new roles museums could play in postcolonial
and multicultural societies. Preoccupations about the accessibility of museums, about
the knowledge and cultural competence required to feel at home there, converged
with a more general questioning of established authority. Making collections interest-
ing and accessible for the general public came to be seen as more than the exercise of
curatorial authority: democratizing the museum was discussed in terms of empower-
ing people—making them want to explore and find out about the collections in ways
that built on their own knowledge. Science centres were at the fore in developing more

introduction 5
6 museums: a visual anthropology

interactive forms of knowledge. Art museums have also experimented with ways of
lowering their thresholds and reaching new audiences. The new public focus on the
part of museums also rested on the commercial need to break even.
Ethnographic museums occupy a crucial position in the new museum studies—
reflecting their position in the museum world. Studies of historical collections and
the renewal of relations with the source communities from which those collections
originated have helped to transform the significance of these once rather neglected
institutions. The repatriation of human remains, sacred objects and photographic
images has been intrinsic to this process of (re)discovery. Other (parts of ) ethno-
graphic collections have been reintegrated into national museums in the name of
universal heritage. Contemporary artists play a vital role in bringing historical col-
lections of all kinds into the present in new ways.

A Visual Anthropology
Many have remarked on the paradox of the visual in Europe and America (e.g. Banks
and Morphy 1997; Grimshaw 2001; Pinney 2002a). As we are overwhelmed by images,
including the thousands we ourselves routinely make, the casual way we approach
them corresponds with a neglect of visual culture by mainstream anthropology for
much of the twentieth century (e.g. Taylor 1998). In a similar vein, although our
lives are inundated by mass-produced goods, they occupied a humble position in the
study of culture (Miller 1987). Museums, by contrast, select what they choose to col-
lect, preserve and display: they elevate collection pieces by making them visually or
otherwise interesting. In spite of this difference, museum displays encouraged their
own blind spots for the distinctiveness of this particular form of visual and material
culture. The ethnographic potential of museums as fieldwork sites was, as part of the
implicit background of middle-class academics, long obscured. However, the global
expansion of museums and heritage sites towards the end of the twentieth century
eventually gave them a place in ethnographic accounts. The development of anthro-
pology at home had a similar effect: museums became visible as ethnographers saw
their significance in terms of local identity and the desire to preserve local history.
The theoretical turnaround that took place during the 1980s was profound; visual
culture, material culture and museums had been neglected in many areas of main-
stream anthropology between 1920 and 1970. Although some anthropologists con-
tinued to collect objects for their institutional home museum and took photographs
and recorded videos as part of their ethnographic data collection, these were rarely
the main focus. This was to change in the 1980s when scholars began to deconstruct
ethnographic texts in a critical effort to address issues of representation in the post-
colonial context (Clifford and Marcus 1986; Clifford 1988). This linguistic turn was
followed by an attempt to grant images and objects priority, known as the pictorial
turn (Pinney 2002a: 82). The development of discourses in all three areas brought
with it an increasing amount of traffic between them: Banks and Morphy, for example,
argued for including ‘material products of culture and recordings of visible cultures
within the same discourse’ (1997: 17). Refocusing on the place of objects, images
and museums was to change our understanding of colonial and postcolonial cul-
ture. Anthropological research is not limited to the study of ethnographic museums:
ethnographers have written accounts of collection-making, exhibition-making and
audiences in a variety of different museum settings (e.g. Macdonald 1998).
Learning to look at the external as well as the internal narratives of the photo-
graphic image brought to the fore the significance of the material form(s) fram-
ing its social life (e.g. Banks 2001). This analytical way of looking, which has been
sharpened by comparative theoretical approaches to photography in anthropology,
has impacted on ways of seeing the museum (Edwards and Hart 2004). Analysis of
the significance of the various frames—architecture, installation, narrative—around
what is displayed has underlined the importance of what remains invisible, and the
ongoing processes of negotiation between them.
Scholarly work on the technologies and practices associated with photography has
taught us to see things differently: whether looking through the lens, examining the
frozen images we produce or using those same pictures for social purposes—there
is general acknowledgement of the importance of their material form. Museums
are closely connected with photographic practices: their displays focus our atten-
tion and lead our feet through the spaces where they organize objects, images and
atmospheres in concentrated forms. They provide us with somewhere else to go,
something to interact with, look at and talk about—rather like William Whyte’s
(1988) idea of triangulation. But museums go further than public art in Whyte’s
small urban spaces: they simultaneously remove us from and then reconnect us with
the outside world. They perform similar operations with the collections that are in
the process of being transmitted from generation to generation: while they separate
and preserve these materials, they continually work at bringing them into the present
and into our presence in consciously crafted ways. These ongoing, intergenerational
processes transect the museum as a form of public culture.
These processes are present in the cover photograph—even if I was unaware of
that at the time of making the photograph. This latent content surfaced through
­objectification and the new ways of looking it can engender. This excess or sur-
feit present in the photograph, discussed by Pinney and Peterson (2003), finds
an echo in the museum. Beneath the surface of what is on display and the at-
tempts at controlling meaning, there is a kind of volatility to museum collections
and ­meanings—similar to that encoded by the photographic image. That leads to

introduction 7
8 museums: a visual anthropology

surprises and discoveries that run counter to the anxieties of control associated with
the ‘exhibitionary complex’, whereby nineteenth-century governments tried to fos-
ter new kinds of citizenship—opening up formerly hidden treasures and making
them intelligible by ordering objects, spaces and visitors (Bennett 1995). These un-
intended effects of the ­museum—an ‘other side’ to its modernity (Henning 2006)—
also indicate the cumulative and sometimes unknown dimensions of this collec-
tive form of public property which have recently been opened to investigation (e.g.
Gosden and Larson 2007).
As visual anthropology has expanded its scope from an earlier—almost
­exclusive—association with ethnographic film and photography, it has come to in-
clude, via the materialities of these media, a range of visual and material culture: from
art, landscape, technology, architecture and consumption to heritage—and, hence,
museums and their particular ways of materializing culture. The transformations
wrought by museums on the objects, images, texts and people brought within their
frame raise questions about agency and structure, process and change, which make
this institution so central to global cultural dynamics (cf. Sansi 2007). Through its
windows we look at and interact with things that are valued through the distinctive
ways they are brought into the present. And we look again at the world, with their
presence in mind.

Aims and Overview

Taking a cue from the highly visible contemporary institution, the first chapter
explores the emergence of the public museum and early forms of visual culture
associated with it—using the case of Teylers Museum. Since this Enlightenment
museum also exists in the present, a contrast is established between current forms of
visibility, such as websites, and the distinctive experiential qualities of the museum’s
historical site and its donor. One argument is that since we access and experience
even the earliest public museum by means of virtual and actual sites, we need to take
both into account. A second argument is that the museum site itself is subject to an
ongoing negotiation of the boundary between its front- and backstage areas. What
were the distinctive qualities of visual culture in the first public museums (in the
eighteenth century), and what is the role of new media in presenting such historical
museums today? What is the museum effect that is created through the website, and
how does this relate to what is encountered on a site visit?
The rise of national museums and their specific visibility in terms of architecture,
as well as highly visible masterpieces, is the subject of the second chapter—using the
cases of the Louvre and the Rijksmuseum. How were national museums constituted,
and how are they reinventing themselves as national monuments and as tourist desti-
nations? One thread of the story is that such institutions made the nation visible and
tangible in unprecedented ways during the nineteenth century. The second thread is
that national museums today are extending and reinventing themselves—both by es-
tablishing branch museums bearing their name elsewhere and by undergoing major
renovations that transform their buildings, exhibitions and public facilities at home.
The creation of visible national culture remains one of the central tasks of such mu-
seums and stretches them both internally (the Rijksmuseum’s mega-renovation) and
externally (the Louvre Abu Dhabi).
Ethnographic collections occupy a central place in this book. How did ethno-
graphic museums come into existence in the nineteenth century, and what was their
role in creating visible difference among metropolitan and colonized populations?
The third chapter examines how ethnographic collections and museums came to
occupy a distinctive position within the exhibitionary complex, and how earlier col-
lections were incorporated into and displayed in new public ethnographic museums
according to various museological and classificatory principles. New ethnographic
materials were collected in great quantities during the colonial period, delighting
the general public at world exhibitions and augmenting the collections of the eth-
nographic museums that were sometimes established in their wake. Ethnographic
museums have undergone and are undergoing transformation in the aftermath of
colonialism. Cases from Europe (Leiden, Copenhagen and the Pitt Rivers Museum,
Oxford) and Africa (the Dundo Museum, Angola) are discussed.
The fourth chapter shifts the focus from ethnographic museums to ethnographic
approaches which have been used to study museums across the spectrum since the
mid-1980s. How have anthropologists studied collecting, exhibition-making and
guided tours for the public in museums of all kinds? What insights does participant
observation offer on these activities? The chapter examines how anthropologists go
about studying the social processes of collecting (Highland New Guinea and the
Museum of Mankind, London), exhibition-making (Science Museum, London)
and guided tours (settler museums, Israel). What kind of knowledge and insight are
gained through participant observation—the cornerstone of ethnographic fieldwork?
What are the visual and material effects of objects as they are transformed through
display, and why is that significant? The work of three anthropologists provides new
understandings of the social relations of collections and exhibitions.
How have practices of displaying objects changed through time? The fifth chapter
looks at the historical dynamics of display practices as a significant part of public
culture. What changes have taken place in professional practices of object display
since the nineteenth century? How do museums generate new areas of visual inter-
est? Changing ideas about how to display ethnographic collections—as scientific

introduction 9
10 museums: a visual anthropology

specimens or as art—anticipate and reflect one of the major twentieth-century de-

bates on the relationship between what was called ‘primitive’ art and modern art.
Another significant development has been the expansion of what is deemed fit to be
seen by the public: previously hidden museum activities or subjects are being put on
display. The concepts of objectification, modernism and renovation are used to ana­
lyse the underlying processes of cultural production. European, American, Australian
and Brazilian cases are discussed.
Museums were once thought of as sites for ever-increasing collections: objects
were acquired and at most reshuffled to another institution. Why are certain mu-
seum objects being returned to the descendants of their original owners? What are
the challenges and the opportunities of repatriation for museums? The idea that
museum collection pieces might have more rightful owners to whom they should be
returned became a significant trend after the Second World War, with decoloniza-
tion and reassertion of the value of indigenous and minority cultures. Negotiation
processes around collection items that have been reclaimed by their legal or moral
owners have given museums the opportunity to rethink their position and respon-
sibilities. Chapter 6 examines the repatriation of human remains of identifiable per-
sons, distinguishing these from the more problematic condition of unidentifiable
remains. The processes (indeed, the very possibility) of museums returning cultural
property, such as sacred objects, to indigenous (or first) peoples have brought about
a new constellation of relations. Claims of various sorts on museums by First Peoples
are transforming institutional practices—such as the keeping, access and occasional
use of collection items—as well as calling into question former assumptions about
displaying objects. Photographic collections dating from colonial times are also in-
volved in what is termed ‘visual repatriation’: reconnecting the descendants of people
who were often the anonymous subjects of colonial photographic practices with
historical images facilitates local appropriations and uses.
These new, collaborative developments in the use and relational purpose of his-
torical collections are of central importance for the practice of contemporary anthro-
pology. The visual and material dimensions of museum buildings, collections and
exhibitions are, as Culture writ large, subject to constant processes of redefinition
and renegotiation. An anthropological approach to museums is of necessity a visual
anthropology: it starts out by taking seriously the prominence given to visual and
material culture by this public institution, and it explores the social and cultural
processes underlying its production, consumption and contestation.
1 M useums in the
Twenty-first Century

Figure 1.1 The front door to Teyler’s eighteenth-century dwelling house, Haarlem, the
Netherlands, with the sign directing visitors to the museum and library entrance
around the corner. (Photo: M.R. Bouquet)
12 museums: a visual anthropology

As I was standing upstairs on the balcony of the magnificent eighteenth-century Oval

Room of Teylers Museum in Haarlem, looking down at the specially made scientific
instruments, specimens and models together with Pieter Teyler’s portrait, the scene
was suddenly interrupted. A metal trolley issued from the wooden doors marked ‘No
Entry’ (‘Verboden Toegang’), and, for a second, there was a glimpse into the carpeted
space beyond. The trolley was soon whisked away and the doors closed firmly after
it—leaving behind only a faint savoury whiff soon lost in the unruffled air (Fieldnotes,
2008). Such moments crystallize the fascination of museums as they negotiate the
boundaries between the public spaces they inherit or create and the invisible areas be-
hind the scenes where the production and reproduction of the institution take place.
The appearance and disappearance of the modern trolley in the heart of an eighteenth-
century space was something like Roland Barthes’s notion of the photographic
punctum: it was a moment that somehow crystallized the contemporary institution.

Introduction
What sort of institution is the museum today, and how does it deal with its past, both
its institutional past and that of its collections? Although museums appear to be histori-
cal, they are one of the key institutions of modernity. Museums have been transformed,
over the past 250 years, from their beginnings as revolutionary new public spaces, often
housed in purpose-built buildings, where formerly private (or restricted-access) collec-
tions were made accessible to the public. These collections expanded in the name of
that public, and museums have undergone subsequent transformations into their pres-
ent complex forms. Grasping what we see in museums requires a sense of how they deal
with that past in the present. The transfer of treasures from the private to the public do-
main has been described as ‘one of the most potent acts of the Enlightenment’ (Sloan
2003: 13), referring to the foundation of the British Museum in 1753. The opening
up of the Louvre Palace in 1793 was one of the first acts of the French revolutionary
government (Duncan 1995). This key moment of change is also part of the history of
much smaller-scale institutions, such as Teylers Museum, which opened in 1784.
This chapter introduces several aspects of visual culture that are significant in muse-
ums today. The relationship between museum websites and the museums they present
is one of these: what is at stake for historical institutions when they move into virtual
reality? Teylers, the oldest public museum in the Netherlands, creates a new version of
itself through its website. More than two centuries ago, an equally decisive shift took
place when formerly private or restricted-access collections moved into (or were specially
assembled for) public museums. The creation of this new kind of space together with
its furniture of display required very substantial economic resources for its realization.
The vision and the will that established such public cultural property depended for its
future on the way it was taken up by subsequent generations. The sharing of knowledge
through collection, demonstration and display also came to incorporate a commem­
orative dimension—making the donor visible. The extension of museum space into the
virtual realm complements other areas and activities that museums bring into public
visibility. The ongoing negotiation of the boundary between visible and invisible areas
of museum premises and collections also shapes their public identities. These key issues
are broached in this first chapter through the case of Teylers Museum, Haarlem.

Sites and Websites: Teylers Museum

Teylers Museum bears the name of the wealthy (and childless) Haarlem textile mer-
chant Pieter Teyler van Hulst (1702–1778). Teyler drew up his will in 1756, leaving
his estate in the hands of a foundation with instructions to further religion, encour-
age the arts and sciences and promote public welfare. This was to be done by means
of two societies—the Theological and Second Societies—the first devoted to the
discussion of religious topics and the second to the natural sciences, poetry, history,
drawing and numismatics. Money was also set aside for expanding the almshouses,
Teylers Hofje, which had been built on a site nearby. The societies were to meet in
Teyler’s house each week and could make use of his library and collections; essay
competitions were also to be held (Levere 1973). After Teyler’s death, the founda-
tion’s directors interpreted the will in their own way: it was decided to found a public
museum, the building of which began in 1779. When Martinus van Marum was
appointed director of the museum, he successfully established a leading cabinet of
natural philosophy, which was used for public lectures and demonstrations, as well
as for conducting his own research into electricity and the chemistry of combustion.
He ordered an impressive collection of specially made scientific instruments and
apparatus, including the spectacular great electricity machine (purchased in 1791)
and Leyden battery jars for storing electricity. The world’s biggest and most powerful
electrostatic generator brought fame to both Teylers Museum and Van Marum. Van
Marum’s excellent connections in the French scientific world helped to shield the
museum from ransacking during the Napoleonic occupation of the Netherlands.
Teylers Museum corresponds with what Krzysztof Pomian terms an ‘evergetic’ mu-
seum: a city benefactor’s collection turned over to public use (Pomian 1990: 264).
The museum gradually expanded from its eighteenth-century core, the Oval Room,
designed by architect Leendert Viervant (completed in 1784; also called the Book and
Art Room, or Boek en Konst-Zael), with the Prints and Drawings Room added in
1824 and the first Paintings Gallery in 1838. The Fossil and Instrument Rooms were

museums in the twenty-first century 13

14 museums: a visual anthropology

added in 1878, and a second Paintings Gallery in 1893. Teylers added a new wing
in 1996, and the Multimedia Centre and shop in 2002. The museum website is its
most significant virtual extension, redone in 2009, adding to the museum’s visual and
material complexity. We first look at how the website presents the museum and then
consider how that virtual representation compares with ‘being there’. A visual analysis
of why and how Teyler is present in the museum leads to a discussion of the com-
plex exchanges involved in donation, representation and commemoration. Despite its
reputation as some kind of time capsule, Teylers Museum exemplifies the actualization
process with which all museums engage: the constant updating of, and additions to,
the buildings, the collections and the other facilities. The tension between some appar-
ently static (‘historical’) features and continually changing contextualization creates a
contemporary ‘museum effect’: creating new objects of visual interest (Alpers 1991: 25).
Part of that effect is created by the off-site, virtual representation of the museum.

www.teylersmuseum.nl
Contemplate a visit to any museum today, and chances are that you will first visit its
website.1 The website can be accessed in advance of a real visit, or retrospectively, or it
can be consulted without ever setting foot in the place. Museums, as public institutions
that depend on visitor numbers to legitimize their existence, actively use their websites to
advertise themselves as attractive, modern destinations. The aesthetic form of the website
is a clear attempt by the museum to configure its simultaneous historicity and modernity
as compelling characteristics: it is a work of art in its own right (cf. Miller 2001: 148).
The Teylers Museum website underwent radical re-imaging around 2009; it now
shows ‘moving-slice’ views as ‘banners’ for its main divisions: ‘Home’ (balcony-level
view of the Oval Room), ‘Museum’ (Instrument Room with the great electri­city
machine), ‘Visit’ (houses reflected in the canal waters), ‘Collections’ (Paintings
Gallery I), ‘Exhibitions’ (Michelangelo), ‘Education’ (teenagers at computers in the
Multimedia Centre), ‘Activities’ (children being shown one of the rare books in the
Library), ‘Shop’ (brightly coloured, polished minerals) and ‘Contact’ (a young man
with his ear to one of the parabolic focal point mirrors in the Oval Room). The in-
formation provided in Dutch is far more extensive than what is available in English.
One of the ‘trap’-like features of the website is a free audio tour of the museum,
which can be downloaded via another website, http://www.artcast.nl, and brought
to the museum by the visitor.2 Information provided in this way, without accom­
panying images, may be experienced as a kind of visual deprivation or as a positive
spur to visit the museum—depending on how you look at it.
The portal to the previous website was less alluring: a stylishly blurry black-and-
white image of the upper part of the nineteenth-century façade, with a greenish tint
and yellow lettering. The right-hand heading on that site was ‘Summary’: an English-
language illustrated guide to the museum, in which short texts combined with some
thirty photographs led the viewer from the monumental façade, via a portrait of
Teyler, to the inner core of the eighteenth-century museum—the Oval Room, and
then to the Fossil Rooms I and II, the Instrument Room, the Paintings Galleries
I and II, the Coin and Medal Room, the Library, the new Exhibition Gallery and
the cafeteria, shop, educational pavilion and digital reading table. The summary pre-
sented many different facets of the museum, from historical architectural high points
(Viervant’s Oval Room) to famous collection items, such as Cuthbertson’s great elec-
tricity machine and Rembrandt’s pen-and-ink drawing Return of the Prodigal Son.
The new extension facilities are also included in the ‘Summary’—the Exhibition
Gallery (for temporary exhibitions), Book Cabinet, Pavilion for Educational Proj-
ects and cafe designed by architect Hubert Jan Henket. As the author notes, ‘These
important additions mean that the old museum can be restored to its full glory: a
uniquely authentic presentation of varied collections in monumental buildings of
eighteenth and nineteenth-century date’.3
The preservation of historical collections and monumental buildings depends on,
and indeed goes hand in hand with, technologically advanced modernity at various lev-
els. One compelling way of being modern is through the selection, organization, con-
servation, investigation and demonstration of the past by means of collection pieces,
and by their actualization for contemporary audiences—the public. The website is an
exercise in selecting and summarizing, in (audio)visual and textual styling, creating a
new artefact based on existing or newly commissioned materials. The redone website
allows the museum to present its historical otherness as a sophisticated treasure house,
with an extensive, well-organized and stylish mine of information. In contrast with
the previous website, which looked very advanced but had a rather difficult presenta-
tional form, Teylers Museum’s current website looks simple and welcoming.
The website epitomizes current ideas about information, accessibility and cus-
tomer service in public institutions; it also permits the museum to preserve its un­
familiar material form. The Instrument Room illustrates this point: the website
has the space to present the instrument collection in clear ways, using different ap-
proaches to capture the (potential) visitor’s attention. A short film has the doors
swing open to reveal curious pieces of scientific apparatus like stars in a thrilling
drama.4 Our eyes are directed to the turning wheel of the great electricity machine,
following its brass rods to the Leyden battery jars, then panning over the naturally lit
surroundings of tall instrument cases. The camera then zooms in on two of the many
acoustic instruments: Herman von Helmholtz’s resonator bank (1865) and Rudolf
Koenig’s sound analyser (1880). While our eyes are obviously being directed to these
two remarkable-looking brass objects, the point that there are dozens of equally fasci-
nating treasures in this room is well made. Clicking on one of the thumbnail images

museums in the twenty-first century 15

16 museums: a visual anthropology

of some fifty instruments produces an individual description and an enlarged three-

dimensional image which can be rotated by the viewer.
Teylers Museum’s website provides one succinct answer to the question of what
museums produce or constitute in the contemporary world. Knowledge (or at least
information) about Teylers can be transmitted in an organized form via the website,
publications, photography and film. Experiencing Teylers—the building, its form
and dimensions, the quality of its light, the materiality of collection objects, the
ways these are integrated into cases, the disposition of collections in various rooms,
the visitor’s perceptions and experiences of those spaces when moving through them
and engaging with their contents—cannot be transmitted virtually.5 Interacting
with Teylers, in the sense of walking through it, looking, listening, smelling, talking
to staff or companions, climbing the stairs, drinking a cup of coffee in the new
cafeteria, using the restrooms or purchasing a polished stone from the shop, is

Figure 1.2 The nineteenth-century entrance to Teylers Museum, Haarlem.

(Photo: M.R. Bouquet)
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