Museum Practice. Группа авторов
Читать онлайн книгу.
Strategic Framework. Arts Council England. Accessed September 20, 2014. http://www.artscouncil.org.uk/media/uploads/pdf/strategic_framework_review_120711.PDF.
Newman, K., and P. Toule. 2011. The Impact of Cuts on Museums. London: Museums Association.
Oakley, Kate, Richard Naylor, and David Lee. 2011. “‘The Public Gets What the Public Wants’: The Uses and Abuses of ‘Public Value’ in Contemporary British Cultural Policy.” International Journal of Cultural Policy 17(3): 289–300.
O’Brien, David. 2010. Measuring the Value of Culture: A Report to the Department for Culture Media and Sport. Department for Culture Media and Sport. Accessed September 15, 2014. http://www.culture.gov.uk/images/publications/measuring-the-value-culture-report.pdf.
ONS (Office of National Statistics). 2010. Travel Trends 2010. Accessed September 15, 2015. http://www.ons.gov.uk/ons/rel/ott/travel-trends/2010/index.html.
RMTF (Regional Museums Task Force). 2001. Renaissance in the Regions: A New Vision for England’s Museums. Museums Association. Accessed September 15, 2014. http://www.museumsassociation.org/download?id=12190.
RRAG (Renaissance Review Advisory Group). 2009. Renaissance in the Regions: Realising the Vision. Renaissance in the Regions, 2001–2008. Museums Libraries and Archives Council.
Smith, Charles Saumarez. 2003. “Valuing Culture.” DEMOS website. Accessed September 15, 2014. http://www.demos.co.uk/files/File/VACUCSmith.pdf.
Tempest, Matthew. 2007. “Blair Pledges to Protect Arts Funding.” The Guardian. March 6. Accessed September 20, 2014. http://www.theguardian.com/politics/2007/mar/06/politicsandthearts.uk.
Thatcher, Margaret. 1993. Downing Street Years, 1979–90, vol. 1, Memoirs of Margaret Thatcher. London: HarperCollins.
Thompson, Sam, and Jody Aked, with Bridget McKenzie, Chris Wood, Maurice Davies, and Tony Butler. 2011. The Happy Museum: A Tale of How It Could Turn Out All Right. Happy Museum Project. Accessed September 15, 2014. http://www.happymuseumproject.org/wp-content/uploads/2011/03/The_Happy_Museum_report_web.pdf.
Toynbee, Polly, and David Walker. 2010. The Verdict. Did Labour Change Britain? London:Granta.
UK Parliament. 2010. “Public Bodies Bill.” Accessed September 15, 2014. http://www.publications.parliament.uk/pa/jt201011/jtselect/jtrights/86/8604.htm.
Wilkinson, Helen. 2003. “To Charge or Not to Charge: Museum’s Admission Dilemma.” Insights 14: A145–A150. London: English Tourism Council.
Further Reading
Craik, Jennifer. 2007. Re-visioning Arts and Cultural Policy: Current Impasses and Future Directions. Canberra: ANU EPress.
Miller, Toby, and George Yudice. 2002. Cultural Policy. London: Sage.
Museum International. 2006. Special Issue: Museums and Cultural Policy. 232 58(4). Accessed September 20, 2014. http://onlinelibrary.wiley.com/doi/10.1111/muse.2006.58.issue-4/issuetoc.
O’Brien, Dave. 2014. Cultural Policy: Management, Value and Modernity in the Creative Industries. London: Routledge.
Sara Selwood is an independent cultural analyst and consultant who has worked in museums, galleries, and cultural management for many years in various capacities as a curator, director, trustee, and academic (http://saraselwood.co.uk). She was formerly Professor of Cultural Policy and Management at City University, London, and is currently an Honorary Professor, Institute of Archaeology, University College London. She edits the journal Cultural Trends and has published widely on the relationship between the expectations of UK cultural policy, its implementation, funding, and the public’s experience of cultural provision. Her books include The Benefits of Public Art: The Polemics of Permanent Art in Public Places (1995), and The UK Cultural Sector: Profile and Policy Issues (2001).
Stuart Davies has over 25 years’ experience of working in, and with, the museums, galleries, archives, and heritage sectors. He is currently Director of Stuart Davies Associates (SDA; http://www.sdaconsultants.co.uk) which delivers support for museum and galleries, arts organizations, historic houses, heritage sites, historic landscapes, archives, development agencies, and local authorities throughout the UK. He worked for several government agencies during the New Labour years, including the Heritage Lottery Fund (1997–2000) and the Museums, Libraries and Archives Council (2000–2004), and authored the government Task Force report, Renaissance in the Regions (2001). Stuart was also President of the UK Museums Association (2008–2010).
4
RECONCEPTUALIZING MUSEUM ETHICS FOR THE TWENTY-FIRST CENTURY
A View from the Field1
Janet Marstine, Jocelyn Dodd, and Ceri Jones
In our rapidly changing world museums face increasing demands to engage with complex ethics issues, and to behave ethically. However, the predominant late twentieth-century approach to ethics as professional practice, which relies on ethics codes revised perhaps once a decade and authored by like-minded individuals to produce and implement these codes, has proven to be a constraining factor, rather than an enabling process. In order for museums effectively to negotiate difficult issues as well as ethical opportunities that arise, novel approaches to ethics are required in which the museum sector actively pursues a dynamic ethics-based museum practice. Over the past five years a new model of museum ethics has emerged; it reconceptualizes ethics as a discourse contingent upon transformations in the social, political, technological, and economic domains. Where these transformations interact with museum practice, a new sphere for ethics debate results. Through discussions among diverse stakeholders with divergent viewpoints, ethical issues are identified, considered, and acted upon. Conceptualizing museum ethics as a discourse acknowledges both the intellectual inquiry and social practice that are integral to communications. In addition, our focus on discourse aims to refute the fragmentation of ethics into distinct and overly reductive protocols for professional practice.
The new museum ethics has been shaped by scholarship in several key areas, most notably: the postmodern critical theories of post-colonialism, feminism, and neo-Marxism; new thinking in applied ethics across disciplines; and current research on new museum theory and practice. Encouraging museums to look outward and engage with the wider world through the lens of ethics, it maintains that transparency and self-reflexivity toward the processes and authority that museums hold, helps them to build trust with communities. The new museum ethics advocates placing social responsibility at the heart of museums so as to reinvigorate their mission and values toward contributing to the wellbeing of society (Marstine 2011a).
In order to