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korbynwatt237331 · 4 years ago

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Week 5

1. Using the past exhibitions from Te Papa ( on the Te Papa website and link in the talk uploaded below ) identify an exhibition that has displayed a collection that reflects the identities of a specific social/ cultural group, medium, or social issue. Identify the key drivers behind the collection, curation and exhibition strategies.

Things Seen and Heard - 2018

https://www.tepapa.govt.nz/about/past-exhibitions/2018-past-exhibitions/things-seen-and-heard

“Each of us inhabit our own version of the world, shaped by what we see and what we imagine. This is especially true of distant places, even ones we’ve visited before.”

“These objects, which connect Asia and Aotearoa New Zealand, reflect this dynamic flow of ideas. None is the product of a single culture. Instead, each has been shaped by influences that span the globe, representing over a century of connected and curious artists and collectors.”

I was not fortunate enough to view this exhibition in person but I can see its value that it had. “None is the product of a single culture. Instead, each has been shaped by influences that span the globe, representing over a century of connected and curious artists and collectors.” The simple design of the exhibitions flow looks to be an important aspect of the big idea that this exhibition is showcasing, the idea that Asias connection with New Zealand is a special one, the inclusion of multiple cultures and New Zealand's acceptation of so.

Woman viewing a silhouette

This uchiwa-e ‘fan-shaped composition’ by Utagawa Sadahide (1807–73), is one of several that he designed featuring yūjo (courtesans) peering at the profiles of brothel quarter patrons silhouetted on shōji screen doors. The scene is set early in a relationship, in the moments before their introduction at a teahouse function. To the left, carefully-prepared food and a large kettle of sake are laid out for the engagements that will follow. The conceit here appears to be playful: the yūjo is trying to make out the identity of her patron – and the silhouette is certainly distinctive. Whoever he is, etiquette required that her entertainments should be conducted with the greatest professionalism. But there is also a tacit acknowledgement of a double standard in the quarters: historically, while the identities of Yoshiwara women were public knowledge – even feted – their clients had always enjoyed some anonymity, often arriving and leaving under hooded disguises. Sadahide’s observation is acutely perceptive and matter of fact, qualities that served an interest that was to prove even more profitable for the artist: documentation and reportage of the local scene during times of momentous change. In this sense, it is his ground-breaking views of the rapidly changing fabric of international relations at the port of Yokohama that secured the commercial success of his inquisitive mind and analytical, purposeful eye.

Flight, AWMM

This photograph by Haruhiko Sameshima was taken in 1991 at the Auckland War Memorial Museum. Sameshima used a two-and-a-quarter square inch camera for the shot, which features one of the bird dioramas at the museum. Rather than photographing the dioramas from the front, Sameshima's image is constructed so that the viewer looks through the frosted glass background of one diorama into another. The result is a slightly strange perspective that seems to free the birds, the opaque glass heightening the sense that the birds might actually fly and move.

Athenes

This black and white photograph was taken by Haruhiko Sameshima in 1992 while the artist was travelling around Europe. Having graduated from Elam School of Fine Arts at the University of Auckland in 1992, Sameshima went on a compressed version of the traditional New Zealand O E (overseas experience), visiting France, Italy, Greece, Turkey, Hungary, Germany, Austria, the Czech Republic, and the Netherlands. Athenes was taken in a museum in Greece, and it focuses on the shadow cast by a plinth and glass display case, which holds an ancient bronze male figure.

Miniature Chinese garden

Yokohama kaiko kenbun-shi/ Things seen and heard at the Yokohama Open Port

The major Japanese Utagawa school artist Sadahide (1807-73) came to fame with his bijin-ga (images of beautiful women) and diversified into landscapes and warrior prints. However, he remains best known internationally for his depictions of exotic locales and events (e.g. the First Opium War), and he particularly focussed in the late 1850s and early 1860s on the port of Yokohama, which he also mapped in panorama form. Still a sleepy fishing village at the time of Commodore Perry’s mission in 1853-54, it rapidly expanded from 1859 as Japan’s sole open port, with permanent foreign residents as Japan’s key open port.

Sadahide’s inclusion in this publication of both Japanese characters within each pictorial composition and English-language text on separate pages reflects a rapidly growing awareness of the importance of multilingual capacities for informing the changing activities of diplomacy and commerce. The combination certainly enhanced the capacity of volumes like these for informing New World readers of American activities in these exotic lands.

This exhibition bridges the gap between cultures and allows us to understand the impact of the events that have been shown within the items on display. Such as Yokohama kaiko kenbun-shi/ Things seen and heard at the Yokohama Open Port’s expression and use of Japanese characters and English text to reflect the importance of multilingual awareness. Allowing us to bridge the gap between language and understand ones culture without filter.

Museum of New Zealand Te Papa Tongarewa, Wellington, NZ. 2020. Things Seen And Heard. [online] Available at: <https://www.tepapa.govt.nz/about/past-exhibitions/2018-past-exhibitions/things-seen-and-heard> [Accessed 8 October 2020].

2. Select an example of a design focused museum ( for example, The Dowse, The Design Museum in London, Cooper Hewitt/ Smithsonian New York, The Danish Design Museum in Copenhagen, the Victoria and Albert Museum in London -- or any other of your choice..

The Printing Museum

(http://www.theprintingmuseum.org.nz/index.html)

The Printing Museum ( Inc.) began life over 30 years ago when a group of enthusiasts and professional printers began collecting items of historical and industrial interest. This was at a time when the era of letterpress, the method of printing by mechanical impression that Johannes Gutenberg had perfected in the fifteenth century, was coming to an end. Had it not been for their foresight, many of these wonderful machines - some of which are now listed items of historical interest - would have been lost for ever.

Although not a museum with design focused area this museum captures that same aesthetic through the items themselves. The impact that comes from a well designed exhibition in my opinion can come from the artwork or items themselves.

Although the printing museum is not in a traditional place of historical significance, the items themselves holds the value of which itself. The industrial machines of printing presses hold a value of historic events that allow us to print as we know it today.

The surroundings throughout this collection symbolises the industrial feel that the items give, almost as if the items are in their natural habitat of printing studios and workshops. This is just one example of how a gallery/museum can effect the viewing experience. As this example gives us a raw value to the story that is on display.

Theprintingmuseum.org.nz. 2020. Home. [online] Available at: <http://www.theprintingmuseum.org.nz/index.html> [Accessed 8 October 2020].

CONTROLLER OF THE UNIVERSE, 2007

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Damián Ortega’s Controller of the Universe is a frozen explosion of hand tools hovering in an almost dreamlike state. These saws, planes, and axes suggest alternative ways to look at tools, in the hope that the experience will transform the visitor’s own ideas about what tools are and mean. Tools can destroy as easily as they can help construct. They extend our body’s abilities and come between us and our direct experience of the action. Ortega explores such dualities in Controller of the Universe. The installation appears threatening at its perimeter, but by way of a cruciform path the artist invites the visitor to experience the optimal viewpoint at the center. The placement of the piece in the exhibition—on axis with "live" images of a pulsating Sun that is part of a separate installation—underscores this perceived control of our universe, while the distant ball of fire reminds us so potently that this is far from the truth. We can tame it at times, use it to help us survive and endure and to enhance our lives in many ways, but we will never control it—even with a world of tools at our fingertips.

Damián Ortega’s use of creating a unique experience is very inspiring. Using tools as a an expression of creativity and the potential of which can be created from.

The design of this exhibition is a very important one, its very satisfying in how the almost explosion looking design of the tools is paired with a more muted room which could be a metaphor of how creativity is from the power of human potential. The mess of tools contrasting with a blank room also expresses the ideas that without the curiosity and creativity life such as the room would be blank.

I want to propose an exhibition that allows for such a unique experience such as this one. One that will allow people to walk through and experience almost alone in order to have more of an impact on those who view it.

Cooper Hewitt, Smithsonian Design Museum. 2020. Controller Of The Universe, 2007. [online] Available at: <https://collection.cooperhewitt.org/objects/35460745/> [Accessed 8 October 2020].

Part Two

Contemporary Museum architecture and design Georgia Lindsay

This is especially true when architecture within a gallery space or museum interrupts the flow of the items on display. Sometimes this could compliment the exhibition but in my eyes this is a distraction.

To create a true experience is to cut down on the barriers that may interact with our interpretation. I think to experiment with my narrative I design design a space that splits the work into a raw state to a point of no barriers.

This quote also backs up my statement of using the surroundings as a story making device, yet to help myself in creating a cohesive narrative I want to take it one step further and create a room inside a room that contradicts the surrounding room. A room where if someone were to enter they would be taken back into a raw state of mind to see face to face with the portraiture that will be on display.

Create a space of contemplation and reflection, once again is a path I need to explore when it comes to creating a space that's sole purpose is to do just that.

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korbynwatt237331 · 4 years ago

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Week 4

The Real and The Virtual describe two ways of ‘looking’ at collections and exhibitions of objects.

The Real means being physically present with a collection or an object. The virtual means to mediate that experience digitally e.g. using software and various configurations of screens, prints etc to produce and manipulate copies made of real things. Digital mediation as imitation can be novel but deceptive e.g. ‘deep fakes’.

For your digital workbook:

Consider how access to some virtual spaces might advantage or disadvantage our encounters looking at collections. For example, Marina Abramovic tried to make people care about global heating? Was she successful? Can a good ‘digital’ copy be a substitute for ‘the real’ and, under what circumstances?

Virtual environments are also sites for creativity in themselves. In what ways could these go beyond just augmenting Rodney’s ‘civic space’ of the physical gallery collection? Can virtual spaces and collections relevant to marginalised groups participate fully in this civic space?

Considering the above. Find at least 4 other examples of collections (either as objects or as an exhibition) where real things are digitally mediated in ways that make you care about a collection - or not.

British Museum, London (britishmuseum.org)

“There are 3,212 panes of glass in the domed ceiling of the British Museum’s Great Court, and no two are the same – and the 360-degree view in this virtual tour lets viewers examine each and every one. Beyond this magnificent space, viewers can find the Rosetta Stone, Egyptian mummies and other ancient wonders. The museum’s interactive infographic platform, History Connected, goes into further depth of various objects with curators, along a timeline.”

Having a virtual space of an exciting Museum could be a positive alternative top those who can not visit the location and want to experience the collections. For a museum like the British Museum this could be a good opportunity for those to pick up on details that they may have missed when they visited in person. With this museum bringing a virtual space into their website, it allows people to further examine things without having to worry about other people possibly being in their way and influencing the experience.

Although these are all positives there may be some negatives too. Experiencing the collections of the British Museum through a screen won't allow you to grasp the full experience of the items themselves when you see them in person. Being able to see these items in person would alter the experience because of the environment that it is in. When you're viewing a collection from the comfort of your own home versus from a building of great importance and architecture there may be some value lost.

Rijksmuseum, Amsterdam (rijksmuseum.nl)

“This grand museum has a vast collection of art and historical objects across 80 galleries. A 10-year renovation project was completed in 2013, transforming the space and combining elements of 19th-century grandeur with modern lighting and a new glass-roofed atrium. The interactive tour helps viewers get up close to every brush stroke by Vermeer, Rembrandt and other Dutch masters while exploring the Great Hall and beyond.”

In a virtual space of the Rijksmuseum the website can be used as a interactive tour for people who visit the museum itself. Yet for a Rijksmuseum their historical collections are objects and paintings that are well known. This means that most people would have seen the painting or object online or through media before. I believe that the significance that comes from viewing these paintings is the scale of which it was painted at. Being able to view these paintings in person allows you to grasp the scale which also creates a more unique experience than if you were to view it online.

Physical museums of such significance should in my opinion stay physical, yet it also creates a platform for those who can not visit the physical museum. Taking paintings and objects of such value and plastering them digitally for all to see could possibly de value them in a way. Being able to go and physically see the painting or object would be a more valued experience and remembered one.

THE GOOGLE ART PROJECT (https://artsandculture.google.com)

“The search engine has cleverly partnered with over 1200 cultural institutions from around the world to archive and document priceless pieces of art, and provide virtual tours of museums using Google Street View technology. There’s an A-Z of all the museums you can explore virtually including digital friendly museums like the Musee d’Orsay in Paris and the Van Gogh Museum in Amsterdam.”

the google art Proust unlike the other examples I have shown is a more broad and interactive experience where you can visit many exhibitions around the world using google street view technology. This digital museum is one designed to be interactive and used through an application on your phone.

Although within this app I feel like there is some issues that arise, such as turning yourself into an iconic painting or art piece as a filter over a photograph. I feel like this could be taken in many ways. This could be a way for people to engage with the artwork and understand it more, being able to interact with the art and turn yourself into the art allows for a very unique experience like no other. I tried this out and started to think from the perspective of the painter or artist and it brought some new point of views. Yet this experience was almost diminishing the value of the artwork itself, to some it may be defacing the artwork completely and undervaluing its significance.

Overall this virtual walkthrough of a huge array of institutions is a more valued way of creating a virtual museum. As it allows people to visit multiple locations and exhibitions rather to one museum or gallery.

AUCKLAND WAR MEMORIAL MUSEUM (https://www.aucklandmuseum.com)

“There are several collections to explore here, and its recently launched Auckland Museum at Home — a free online hub filled with stories, activities, videos and puzzles — is perfect for families to enjoy. Auckland Museum chief executive David Gaimster says the museum is an anchor point for all Aucklanders. We want to maintain our connection with the city and the communities we serve while our galleries, exhibitions and public programmes aren’t able to operate.”

The idea of a virtual gallery or museum could be less of a foreseen one in this day and age. Coronavirus playing a large role in public spaces this year we all found ourselves in our own homes without access to activities and facilities such as galleries and museums. The Auckland War Memorial Museum had several collections online for you to view. Having access to this information could play a large impact on current affairs where you are unable to experience the gallery in person. This allows us to have access to our history and understand it's significance in these times of hardship, breaking the barriers that may possibly play a part in our lives in the future.

This also made me think of other barriers that may play a large impact of some people, people who are unable to access certain areas because of a disability or simply just location. A virtual gallery or museum allows us to create less restrictions and ‘open the doors’ to everyone who wishes to access it.

Overview

Virtual galleries and Museums allow us to access information that we may not be able to locate ourselves physically, although the digital platform may belittle artwork in ways it in my opinion is a necessity. Locations and buildings set an experience like no other, where you experience the gallery or exhibition impacts your view, to view such things in your own home may negatively impact how you understand it.

I would argue that the importance of a gallery or museum comes from the experience of the surroundings, being able to walk into a room specially designed for the experience brings a unique value to the items on display and impacts your understanding.

the Guardian. 2020. 10 Of The World’S Best Virtual Museum And Art Gallery Tours. [online] Available at: <https://www.theguardian.com/travel/2020/mar/23/10-of-the-worlds-best-virtual-museum-and-art-gallery-tours> [Accessed 7 October 2020].

Magazine, V., 2020. Our Favourite Virtual Museums, Galleries & Exhibitions To Visit - Viva. [online] Viva.co.nz. Available at: <https://www.viva.co.nz/article/stayhome/our-favourite-online-museums-galleries-to-visit/> [Accessed 7 October 2020].

Part two

Ordinary Things in Ordinary Places: Meditations on Moving by Connie Brown

“Forever objects of (re)interpretation, Narration and representation” this is a powerful quote that strengthens the idea of permanent exhibitions in the fact that we personally find meanings that others don't. I believe that it is important to have a free flow of interpretation and encourage people to think individually, for this purpose.

The same could be taken when visiting a collection of items such as a gallery or museum. The fact of viewing and experiencing leaves us with a different state of mind of which we came in with. A new point of view or simply a new understanding can be a powerful tool to have when creating a space or exhibition.

This quote makes sense for me to save as it looks into the linking of story and can link to me creating a narrative through portraiture. People can interlock in many ways and to find a way to create a story through mediums of portraiture could be a fun and expressive way to convey this message/concept.

The Man who Never Threw Anything Away Ilya Kabakov

Through this reading it is evident that many people find value in things in varying ways. This further values the necessity for personal interpretation when it comes to viewing an artefact of such. The mare personal interpretation of items through memory can be a strong concept for people to hold onto.

It could be an interesting thing to look into when I’m creating an exhibition, through looking at different interpretations of portraiture and using many in the gallery to show different view points that some may find varying value in.

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korbynwatt237331 · 4 years ago

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Week 3

In your digital workbook: Imagine you could bring any 5 (or 6 or 7) things together, to tell a story, to make a point, to illuminate a concept, to reveal an insight, to offer a portrait…

What might those things be? What connections are being made? How do different juxtapositions make + change meaning?

Use images - photographs, paintings, sketches, stock footage, video - and sound, to document this nascent collection, and even begin to consider where this collection might be best understood.

3 Portraiture Artists

Rita Angus

Rutu - “The painting is an elaborate fusion of traditions, ideologies and culturally diverse iconography.”

Marjorie Marshall - “Through bright slabs of colour and light, she evokes both the drama of the Central Otago Alps and the affection and warmth of her friendship with Marshall.”

Yvonne Todd

Morka & Ida. No descriptions

Sofia Minson

Girl With a Pounamu - “There is a softness and freshness of spirit in the young maiden's eyes, yet this is contrasted with the very ancient and traditional nature of her korowai (cloak), her pounamu earrings and the Huia feathers in her hair. Her ancestors are present and speak through her, even in her youth.”

Good as Goldie - “Since Lindauer and Goldie in the 19th century, there has been a surprising lack in the tradition of Maori oil portraiture. Although Karl Sim is not of Maori decent, Minson considers this work to be part of her series of contemporary Maori portraits because of his role in the evolution of Maori art and culture as well as the fact that he grew up in a predominantly Maori community and has had close ties with Maori ever since.”

The conflict created from having three artists as a form of portraiture in the same gallery could be interesting in the idea of seeing eye to eye in the multiple forms of one creative medium. This gallery brings the idea of identity to an interesting open field where it is up to you to understand what is being said and to understand the vast array of culture and faces.

Having three portraiture artists in one gallery raises issues on hierarchy on dependance of where the portraits are shown. For example in there 3 options of orientation we get a different story. It would be interesting to find a way to combat this issue by creating a space that doesn't allow for the architecture or orientation contradict the viewing experience.

Possibly in a curated space where your experience is solely your choice of exploration and curiosity. Maybe a place of interaction to explore.

Read and reflect on this weeks texts.

The museum of innocence

“The museum is a colossal mirror in which man contemplates himself, in all his aspects, finds himself literally admirable and abandons himself to the ecstasy expressed in all the art journals.”

Georges Bataille, Encyclopædia Acephalica, 1929–30

Could be taken literal and metaphorical, I could explore a way to translate this in a more direct form with my exhibition proposal, a way to experiment with mirrors and portraiture to convey this message as museums being a colossal mirror.

This reading explicitly goes through the importance of expressing individualism in the sense of hierarchy over a national exploitation. Museums should be a voice of identity and should question the individualism of those who view it.

This would be a good way to introduce local artists that aren't as well known as some national ones. Portraiture would be a good way of looking through this lens of individuality and identity, paired with mirrors as a way to encourage ones self reflection through a literal and metaphorical sense.

Orhan Pamuk’s ‘Museum of Innocence’: on architecture, narrative and the art of collecting

The space of which an exhibition is held plays a large impact on how people perceive what is being shown. Creating a space where the experience is largely targeted towards what is being shown could be a great way to convey a message.

Cutting down barriers such as architectural structures de facing or impacting the viewing experience could be a good thing to explore when I come to making my own exhibition proposal. Not by creating a building itself, but more or less creating a room or walled off area that is used to cut out these barriers that I have come across in my own investment of visiting local galleries and museums.

On Longing Susan Stewart

Creating a space where you express the culture behind portraiture could become a slippery slope into creating a space that takes away from the authentic experience, I need to explore a way that takes the art into its pure from. A way to create an experience to a from the artwork rather to work with it, rather to take away from it.

To do this could be to have a minimal space that focuses on the portraits and through an experience of self exploration. Leaving it up to the viewers experience and their own interpretation of the area.

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korbynwatt237331 · 4 years ago

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Week 2

In your digital workbook include at least three entries/key points of Tony Bennett’s theory, the ‘exhibitionary complex.’ In your own words explain how these points link to modes of display, the disciplining of museum visitors, and/or display architecture (interior or exterior). You may consider the logo brand identity of Te Papa in 1997-98 featured in Getting to Our Place.

Bennett’s theory is categorised between two main principles; The first being that galleries and museums should be open to the public for everyone to equally access. And the other to have all museums portray culture in an adequate representation that allows all to understand the proper values of their or others environments and traditions.

The Employment of anthropology within the exhibitionary complex in the late 19th century played a large impact on connecting the histories western nations and civilisations, yet ultimately created a separation between culture and nature.

Museums are typically located in the middle of cities which implies an undertone of power and monopoly.

“The space of representation constituted by the exhibitionary complex was shaped by the relations between an array of new disciplines: history, art history, archaeology, geology, biology, and anthropology. Whereas the disciplines associated with the carceral archipelago were concerned to reduce aggregates to individualities, rendering the latter visible to power and so amenable to control, the orientation of these disciplines - as deployed in the exhibitionary complex - might best be summarized as that of 'show and tell'. They tended also to be generalizing in their focus.”

Consider one of the exhibition spaces you visited in week one. Can you determine or suggest ways you think visitors are being disciplined as viewers in their museum experience? This could address the way exhibits are presented, specific architectures, and/or any other aspects about the visitor's museum going experience.

Within the Exhibition “A Place Apart” in the City Gallery Wellington “Pataialii’s energetic compositions revolve around idiosyncratic forms—picket fences, rugby posts, cowboy hats, and boxing gloves—which recall her Auckland childhood. As a child of a Samoan immigrant generation, she explores the implications of living in diaspora. For her, these histories surface and crystallise in icons of pop culture, music, and suburban memories.”

Yet the city Gallery itself and the surrounding architecture in which Pataialii’s artwork is housed in can differ those minds who view it. Having a strong story of immigration and pop culture surrounded by an undertone of power and monopoly could possibly underset the significance of Pataialii story.

This makes me think to myself in which context can Pataialii’s artwork be shown in order to dodge this issue. But this also had me think of the significance that Pataialii’s work had on those who viewed it. Which could be a less striking attribute to those who visit the gallery to what I’m making it out to be. Overall this concept of story telling under a house of such significance could be taken in many ways. Ways of which can be told as a brave and striking story to be exposed to. Whereas some may take it as a fabricated alternative version as such that the city gallery may bring into the art. This concept of how architecture and the placement of art effects our experience may be a bit extreme but it could definitely play a large role in how we view a gallery when it comes to other museums.

Later in the course we consider outreach and target audiences. Make a few notes about the brand identity of your selected museum/art gallery. Specifically, consider how your selected museum/art gallery brands itself to;

i) communicate its identity as a museum/exhibition space

ii) attract the public, or specific target audiences

“City Gallery Wellington is a contemporary art gallery with a dynamic programme of exhibitions and events, and an international reputation. We’re the hub for art life in New Zealand’s capital.”

i) The City Gallery Wellington communicates its identity through a vast array of cultural representation within a varying amount of contemporary art mediums.

ii) The City Gallery Wellington works amongst local “galleries, collectors, and an extensive range of organisations and business partners to present exhibitions and events that are relevant to our lives today” Which attracts the public for reasons of relativity and context. People who visit the gallery will be exposed to artists that target issues and ideas that are relevant to todays issues and events.

The gallery is free entry and is located in the middle of the city making it an easy and attractive place to visit.

Undertake some further reading on any one of the following exhibition events raised during discussions in the lecture session.

The International Exhibition 1906-07, Hagley Park, Christchurch

-ART GALLERY-

Frederick John Barlow, who designed the Machinery Hall, also designed the Art Gallery, which was built by Moore Brothers at a cost of £4998.

It was a brick building at the rear of the Main Building, specially constructed to give maximum fire protection.

The walls were strengthened with buttresses and the ceiling was lined with asbestos slabs.

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korbynwatt237331 · 4 years ago

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g. Lewis A History of Museums

Major Key Points

Museums came to be organised partly or totally as a government service.

The Idea of the museum occurred early in the 2nd millennium BC, where copies of old inscriptions were made for use in schools.

In Asia and Africa, collecting commenced at least as early as the Shang Dynasty.

In Medieval Europe collections were mainly the prerogative of princely houses and the church.

Great collections formed in Itally during the Italian Renaissance.

In Europe Royal collections begun in the 15th century.

It wasnt until the 17th century that the first important royal collection was formed in England by Charles I, Where Charles II maintained the collection.

In the 16th Century specialized personalised collections started to form.

In Italy alone more than 250 natural history collections were recorded.

Modern museums can trace some of its origins to private collections maintained by prominent individuals during the Renaissance.

The first corporate body to receive a private collection, erect a building to house it, and make it publicly available was the University of Oxford. Gifted by Elias Ashmole.

The Central Museum of the Arts was not fully accessible until 1801.

The Capitoline Museum was opened to the public in 1734.

By the 19th century publicly avalable museums become more common.

What followed for approximatley the next 100 years was the founding, by regional and national authorities.

Increasing intrest in antiquities led to the excavation of local archaeological sites and had an impact of museum development.

The middle of the 19th century saw the establishment of a number of other well-known museums.

About 100 museums opened in brittan in the 15 years before 1887, while 50 museums were established in Germany in the five years from 1876 to 1880. A period of inovation.

A number of new museums were apearing in Asia as well.

In central southern Africa, museums were founded early in the 20th century.

The first half of the 20th century saw the profound social consiquences of two world wars, the Russian Revolution of 1917, and periods of economic recession. For Museums in Europe this was a period of major reassesment.

A new approach emerged after world war 2 in which curators in the larger museums became members of a team comprising scientists as conservators, designers to assist in exhibition work.

More than two-thirds of the worlds museums are still located in the industrialized countries, with a ratio of one museum to fewer than 50,000 inhabitants in Europe and the United States.

In india or Nigeria the ratio is approximately on museum for every 1.5 million inhabbitants.

Museums increased awareness in the environment and the need to preserve it in the 20th century.

Historic sites and buildings are preserved.

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