Museums and Photography

<p><em>Museums and Photography</em> combines a strong theoretical approach with international case studies to investigate the display of death in various types of museums—history, anthropology, art, ethnographic, and science museums – and to understand the changing role of photography in museums. Contributors explore the politics and poetics of displaying death, and more specifically, the role of photography in representing and interpreting this difficult topic. Working with nearly 20 researchers from different cultural backgrounds and disciplines, the editors critically engage the recent debate on the changing role of museums, exhibition meaning-making, and the nature of photography. They offer new ways for understanding representational practices in relation to contemporary visual culture. This book will appeal to researchers and museum professionals, inspiring new thinking about death and the role of photography in making sense of it.</p> <p><em>Approaches to Displaying Death in Museums: An Introduction <br>Elena Stylianou & Theopisti Stylianou-Lambert</em></p><p><em>PART I: EVIDENCING THE PAST<br>Negotiating Death at the Great Kanto Earthquake Memorial Museum<br>J. M. Hammond</em></p><p><em>Honoring the dead: photography and the display of the Jewish Necropolis at the Jewish <br>Museum of Thessaloniki<br>Iro Katsaridou</em></p><p><em>“Death from the skies.” Photographs in museums of the aerial bombing of civilians during World War Two<br>Sheila Watson</em></p><p><em>Saints, Martyrs and Heroes: “Sacred Displays” or the Iconography of Death in Cypriot Museums<br>Yiannis Toumazis </em></p><p><em>PART II: THE SPECTABLE OF DEATH<br>The War/Photography Exhibition and the Display of Death<br>Jean Kempf</em></p><p><em>“Persons Unknown”: Lynching Photographs in the Museum<br>RM Wolff</em></p><p><em>Human Skulls and Photographs of Dead Bandits: the Problems of Presenting a Nineteenth Century Museum to Twenty-First-Century-Audiences<br>Silvano Montaldo and Eleanor Chiari </em></p><p><em>Our First Murder: Exhibiting Evidence outside the Police Archive<br>Stella Pekiaridi </em></p><p><em>PART III: EMPAPHY AND RESTORING ANONYMITY<br>A Gallery of Martyrs – The Martyr in the Gallery: Public Display and the Artistic Appropriation of Martyr Images in the Middle East<br>Verena Straub</em></p><p><em>What Will You Remember When I’m Gone? Funerary Photography in the Gallery’s Public / Private Space <br>Rosanne Altstatt</em></p><p><em>Remediating Death at Yad Vashem’s Holocaust History Museum <br>Rachel Perry</em></p><p><em>Photography and the Museum: visiting the sight of Death <br>Pam Meecham</em></p><p><em>PART IV: MUSEUMS AS AGENTS OF CHANGE<br>Double Exposure: Absence and Evidence in Ken Gonzales-Day’s Erased Lynching<br>Reilley Bishop-Stall </em></p><p><em>On May 1, 2011 (Alfredo Jaar, 2011) – Expanding the Frame of the Original Photograph <br>Mafalda Dâmaso</em></p><p><em>Photography as a form of taxidermy: Zoe Leonard’s Preserved Head of a Bearded Woman, Musée Orfila<br>Chelsea Nichols</em></p>