Mueller Report Books

African American Studies

A Pedagogy of Witnessing: Curatorial Practice and the by Roger I. Simon

By Roger I. Simon

Explores the curating of “difficult wisdom” in the course of the exhibition of lynching pictures in modern museums.

This extraordinary comparative examine at the curating of “difficult wisdom” makes a speciality of museum exhibitions that offered an analogous lynching images. via an in depth description of the exhibitions and drawing on interviews with museum employees and customer reviews, Roger I. Simon explores the affective demanding situations to concept that lie at the back of the various curatorial frameworks and the way audience’ reviews at the exhibitions practice a selected dialog approximately race in the USA. He then extends the dialogue to incorporate contrasting exhibitions of photos of atrocities devoted via the German military at the jap entrance in the course of international conflict II, in addition to to pictures taken on the Khmer Rouge S-21 torture and killing middle. With an insightful mixing of theoretical and qualitative research, Simon proposes new conceptualizations for a modern public pedagogy devoted to bearing witness to the files of racism

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Based National Coalition against Censorship quickly circulated a petition urging his release and the case was extensively discussed in digital forums across the Internet, with many people expressing views that supported Condon’s project. Such controversies obviously raise the question as to when the display of a dead human body might be judged a desecration, an issue clearly relevant to the staffs of the museums that decided to exhibit images from the Allen and Littlefield collection.  .  . defiled in the land of his fathers” (446)].

66 Wills noticed the inability of his students to draw on the history of racial oppression to help think through the implications of contemporary events. While his students had been immersed in the study of African American suffering during slavery, they understood these events as having occurred in a transcended past and hence that they had no obvious connection to events in the present. What the study of these events provided students was a moral discourse for understanding slavery by focusing on the brutal or inhumane treatment of slaves.

Indeed, we might extend Apollo’s charge and say that those who desecrate a body and those who publicly display such desecration might on this account be judged has having “no shame,” and without shame one is disgraced and dishonored. This is one framework within which one might mount a critique of the public exhibition of the photographic images of lynchings. Even if these exhibitions were intended as a mode of dissemination broadly useful as a means of informing and mobilizing relevant publics, nonetheless such views express an opinion that such utilitarian display of human remains is evidence of institutional hubris and violates the necessity of respect for the body of the dead.

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