Museum Transformations. Группа авторов

Consortium and Woodlands Cultural Centre director Janis Monture and curator Paula Withlow. The gallery’s official name is The Daphne Cockwell Gallery of Canada: First Peoples.

      22 22 Cultural rights are stated in a number of the articles of the United Nations Declaration on the Rights of Indigenous Peoples, adopted in 2007 (United Nations 2007).

      23 23 For explorations of collaboration in museum anthropology, see Peers and Brown (2003); for a rich range of case studies see Canadian Conservation Institute (2008).

      24 24 The contributing museums were the Museo Natzionale Etnografico et Archaeologico “Luigi Pigorini”; the Musée du quai Branly; the Musée royal de l’Afrique centrale, Tervuren; and the Museum für Völkerkunde, Vienna.

      25 25 For a detailed account of a number of the best-known of such experiments, see Putnam (2009).

      26 26 Baumgarten has produced other interventions in museum spaces which were designed to challenge the criteria and typologies of the institution. One of the best known was Unsettled Objects at the Pitt Rivers Museum in Oxford from 1968 to 1969 which was a projected slide show of 80 “labeled” images of views and objects from the museum. It attempted to disrupt the presumptions of the evolutionary typologies of the original museum displays. The intervention has had a long afterlife and was recently reconstructed at the Gallery of Modern Art in Glasgow.

      27 27 “Anishinaabe” (the people) is the name used by Houle’s First Nation for themselves rather than “Ojibwa,” ascribed by outsiders and used by Baumgarten as one of the tribal names in his piece.

      28 28 Git Hayetsk means “People of the Copper Shield.” The group, which is based in Vancouver, British Columbia, was founded by Mique’l Dangeli, who is Tsimshian, and her husband Mike Dangeli, who is Nisga’a. Its 50 members come from different Northwest Coast and other First Nations.

      29 29 The exhibition, Looking to the Past to Inspire Our Future (2007) displayed reproductions of Haldane’s photographs salvaged from damaged and discarded glass plate negatives and rediscovered by Dangeli in museum archives in Europe and North America.

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