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- W2016993456 abstract "ONCE WHEN ASKED what was the secret of his success, Wee Willie Keeler, a star baseball player of the early twentieth century, responded, I hit 'em they ain't. Traditionally curators and directors of history museums crafted exhibitions that often landed where they ain't. Academics, cultural critics, and the nation's media paid little attention to these historical presentations. That is no longer true. Changes in the composition of museum staff, the choices of exhibition content, and the visibility of cultural institutions-much of which began ironically during the Reagan administration and continues through the current struggles over the appropriateness of certain cultural canons-all have brought greater scrutiny, debate, and controversy to museums and their exhibitions. Some believe that museums should provide cohesion and consensus in difficult times. Others want museums to become bold agents of change and empowerment. Still others believe that cultural institutions must remain above the fray. The key question, then, is how museums should respond to cultural and political pressures. While some institutions revel in this new notoriety, most museums worry about the deleterious effects that controversial exhibits may have on funding sources, relationships with boards of trustees, government agencies, and their traditional audience. These are legitimate concerns that have recently confronted institutions as diverse as the National Museum of American Art, the Florida Museum of Natural History, the Center for African Art, and the Jewish Museum. The case of the Florida Museum of Natural History is particularly illuminating." @default.
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- W2016993456 date "1992-01-01" @default.
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- W2016993456 title "Embracing Controversy: Museum Exhibitions and the Politics of Change" @default.
- W2016993456 doi "https://doi.org/10.2307/3378230" @default.
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