By Amy K. Levin, David Kyvig
Publish yr note: First released in December twenty eighth 2006
Defining Memory makes use of case reports of shows from round the nation to check how neighborhood museums, outlined as museums whose collections are neighborhood in scope or whose audiences are basically neighborhood, have either formed and been formed by way of evolving neighborhood values and feel of historical past. Levin and her participants argue that those small associations play a key position in defining America's self-identity and may be studied as heavily as extra nationwide associations just like the Smithsonian and the Metropolitan Museum of paintings.
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Extra resources for Defining Memory: Local Museums and the Construction of History in America's Changing Communities
Further research using these theories may show exactly how small, local museums differ from large and traditional ones, and how to document and quantify their community impact. We who love museums have always enjoyed these unusual places, but perhaps with these tools borrowed 42 ELIZABETH VALLANCE from traditional curriculum theory we can better learn to characterize and understand why we do. NOTES 1. Ron Chew, “In Praise of the Small Museum,” Museum News 81, no. 2 (March/April 2002): 36–41. 2.
Over 450 Pieces—Hand Carved Limestone,” all the work of one sculptor. Inez Marshall was a former truck driver who began carving (a limestone squirrel, using her father’s knife) while in her twenties and recovering from a broken back. She saw sculpting as a God-given talent and made it her life’s work, taking instructions from God to create a collection that she claimed numbered 450, although when it was inventoried after she suffered a stroke at 77, the pieces totaled 68. The museum, housed in a former service station in a prairie town of 150, miles from anywhere, housed her whole collection and at least one work in progress (the wheel for a life-sized Harley-Davidson motorcycle).
The place was memorable for its ethical impact on those who came to love it: it invited the visitor to respect the eccentricity of this unusual and isolated sculptor and appreciate her for what she demonstrated of the human spirit. The Continental Sculpture Hall reminded visitors that political entities such as the National Endowment for the Arts—which had nothing to do with any of these three museums, to my knowledge—and school art programs generally, are crucial for the contact with art they give to people in all kinds of communities, urban or rural, and that we need to support these chances for people to discover the work that loners like Inez Marshall undertake.