The New Museology by Peter Vergo

By Peter Vergo

With essays by way of Charles Saumarez Smith, Ludmilla Jordanova, Paul Greenhalgh, Colin Sorensen, Nick Merriman, Stephen Bann, Philip Wright, Norman Palmer and Peter Vergo. "A energetic and debatable symposium ... thought-provoking"--"The Sunday occasions" (Paperbacks of the yr, 1989)"The essays are all exotic by means of their topicality and lucidity."--"Museum" "News""A great addition to the library of Museology"--"Art Monthly""The New Museology is vital studying for all these trying to comprehend the present debate in museum ideologies."--"International magazine of Museum administration and Scholarship"

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Yet our own attitudes to the question of the educative function of exhibitions (I use the term 'educative' in the widest sense) are, it seems to me, also open to debate. The frequent success of present exhibitions in terms of numbers of visitors and income generated merely masks a profound disquiet within the profession regarding some of the most fundamental assumptions of the activity in which we are engaged. We may, as I have suggested, all agree that exhibitions, in some manner, address themselves to an audience, and that their aim is, in the broadest terms, educational.

If you add to this the pearl necklaces on recumbent female models and the look of ecstasy on the faces of these women, the glass cases and fringed silk linings, it is immediately evident that to describe these models as a deliberate substitute for a bit of nature unavailable for technical reasons does not explain anything. f At one level anatomical wax models simulate nature and hence can be deemed a legitimate source of knowledge. But at another they frankly invite the viewer's fantasies, fantasies which are inevitably sexual in nature.

Yet, at the same time, they do far more than this. For example, they proclaim the beauty of natural objects and of scientific and medical instruments, models and representations. " As a children's book on museums puts it: 'There are many ... exciting things to discover in all the different museums - almost anything, from dinosaurs to amazing machines. ' 19 If there is even a grain of truth in this, then visitors to exhibitions cannot be treated as passive recipients of an ideological position, conveyed through all the physical aspects of the museum.

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