Museum Transformations

3.1 “Contested Frontiers” exhibit, National Museum of Australia

3.2 1823–1825 Wiradjuri War display, National Museum of Australia

3.3 Theresa Napurrula Ross tells of the Coniston Massacre, National Museum of Australia

4.1 Where Are the Children? at the Tom Thomson Gallery, 2009

4.2 Entrance to Where Are the Children? , Glooscap Heritage Centre, Millbrook, Nova Scotia, 2011

4.3 Entrance to Where Are the Children? , Tom Thomson Gallery, 2009

4.4 “ We Were So Far Away … ,” Ottawa Catholic School Board, 2010

4.5 An Elder in Arviat, Nunavut, encounters “ We Were So Far Away … ” at the Mikilaaq Centre, 2009

5.1 National Museum of Struggle and Archbishop’s Palace, Nicosia

5.2 Photographs of dead fighters, National Museum of Struggle

5.3 Photographs of British interrogators/torturers and of their victims, National Museum of Struggle

5.4 Execution room and memorial plaque at the Central Jail of Nicosia 6.1 Souterrain entrance, Tropenmuseum

6.2 Introductory panel to “Oceania” section of “Eastward Bound!” at the Tropenmuseum

6.3 Colonial Theater, Tropenmuseum

6.4 Yinka Shonibare, Planets in My Head, Literature , 2011

7.1 The color bar as reflected in urban form and architecture, Royal Museum for Central Africa

7.2 Main interface of interactive display on the city of Boma, Royal Museum for Central Africa

7.3 Title page of interactive display on Boma

7.4 “Society” menu of the interactive display on Boma

7.5 “Violence” menu of the interactive display on Boma

8.1 Museum of Memory and Human Rights, Santiago de Chile

8.2 Jorge Tacla, Al mismo tiempo, en el mismo lugar , Museum of Memory and Human Rights

8.3 Museum of Memory, Rosario

8.4 Former concentration camp at Police Headquarters, Plaza Cívica, Rosario

9.1 Monument to the Women of South Africa, by Wilma Cruise and Marcus Holme, 2000

9.2 Ground plan of a cell, Women’s Jail, Johannesburg

9.3 Installations across the atrium, Women’s Jail

9.4 Nikiwe Deborah Matshoba’s wedding dress, Women’s Jail

10.1 Erromangan women ready to perform at Vanuatu’s Third National Arts Festival, Port Vila

10.2 Women in south Erromango studying photographs of barkcloth held by the British Museum

11.1 Shield, Trobriand Islands, British Museum

11.2 Workroom at British Museum ethnograph store

11.3 Ralph Regenvanu, The Melanesia Project , 2006

12.1 Blackfoot shirts on display at the Glenbow Museum

12.2 Discussing leggings and shirts at the Pitt Rivers Museum

12.3 Students from Red Crow Community College, Kainai Nation, during a visit to the Glenbow Museum

12.4 Teacher training session at the Glenbow Museum

13.1 Yucca workshop, A:shiwi A:wan Museum and Heritage Center

13.2 Zuni waffle gardens

14.1 Photo of Jacob Odawo and Archdeacon W. E. Owen by E. E. Evans‐Pritchard, 1936, Pitt Rivers Museum

14.2 Pupils at Rakombe Primary School view the Paro Manene exhibition

14.3 Two of Chief Owuor’s surviving wives, Dorina Owuor and Turfosa Omari, holding his framed portraits

14.4 Framed portraits in the home of a surviving wife of Chief Owuor

15.1 The sierraleoneheritage.org digital resource

15.2 Frames from the sowei video documentation

15.3 Mural promoting sierraleoneheritage.org on a wall of the Sierra Leone National Museum

15.4 Visual repatriation of history at Rotata

15.5 The Reanimating Cultural Heritage project

16.1 Warumungu women watching and editing videos for the DDAC website

16.2 Home page of the DDAC website

16.3 Recreation on DDAC website of Aboriginal community’s covering over of images of the deceased in museum spaces

16.4 Inuvialuit Living History Project team examine engraved wooden plaques

16.5 Inuvialuit Pitqusit Inuuniarutait/Inuvialuit Living History homepage

18.1 Watching films on the lecterns/little houses in Towards the Other

18.2 Watching Nothing Is Missing in Towards the Other

19.1 Hotel Yeoville visitor in the Photo Booth

19.2 Comments left in the Photo Booth by Hotel Yeoville visitors

19.3 Hotel Yeoville participant adds his story to the Journey Booth

19.4 Hotel Yeoville visitor making a YouTube video in the Video Booth

19.5 Hotel Yeoville exhibition layout

19.6 Installation view of Hotel Yeoville main thoroughfare

20.1 WACK! Art and the Feminist Revolution homepage

20.2 elles@centrepompidou homepage

20.3 Shifting the Gaze: Painting and Feminism homepage

21.1 Kwakwaka’wakw area, Multiversity Galleries, UBC Museum of Anthropology

21.2 Nuxalk raven rattles, UBC Museum of Anthropology

22.1 National Museum of the American Indian, Washington, DC

22.2 Mr. and Mrs. Ike, Confederated Tribes of the Warm Springs Reservation, Oregon, at the National Museum of the American Indian

22.3 Installation of guns and Bibles, National Museum of the American Indian

23.1 Victoria Memorial Museum, Kolkata

23.2 Vivan Sundaram, The History Project , 1998

23.3 Vivan Sundaram, “Traces of the Queen,” The History Project , 1998

23.4 Railway car, The History Project , 1998

24.1 Canadian Museum for Human Rights, Winnipeg

24.2 “Canadian Residential Schools” module, Canadian Museum of Civilization

24.3 “Canadian Residential Schools” module (detail)

24.4 “Aboriginal Peoples of Canada” section (artist’s rendering), Canadian Museum for Human Rights

Annie E. Coombesteaches museum studies and art and cultural history at Birkbeck, University of London. She is Director of the Peltz Gallery and author of award‐winning books on museums, memorialization, and the legacy of colonialism including Reinventing Africa: Museums, Material Culture and Popular Imagination in Late Victorian and Edwardian England (Yale University Press, 1994); History After Apartheid: Visual Culture and Public Memory in a Democratic South Africa (Duke University Press, 2003); and Managing Heritage, Making Peace: History, Identity and Memory in Contemporary Kenya (with L. Hughes and Karega‐Munene; I. B. Tauris, 2013). She has also edited the collection Rethinking Settler Colonialism: History and Memory in Australia, Canada, Aotearoa New Zealand and South Africa (Manchester University Press, 2006).

Professor Annie E. Coombes Professor of Material and Visual Culture

Department of History of Art Birkbeck, University of London

London, UK

Ruth B. Phillipsteaches in the graduate program in Cultural Mediations at Carleton University and is a former director of the University of British Columbia Museum of Anthropology. Her research and publications span African art, indigenous North American art and critical museology, and include Representing Woman: Sande Society Masquerades of the Mende of Sierra Leone (Fowler Museum of Cultural History, 1995); Trading Identities: The Souvenir in Native North American Art from the Northeast, 1700‐1900 (University of Washington Press, 1998); Museum Pieces: Toward the Indigenization of Canadian Museums (McGill Queen’s University Press, 2011); and, with Janet Catherine Berlo, Native North American Art (Oxford University Press, revised edition, 2014). She is a fellow of the Royal Society of Canada.

Professor Ruth B. Phillips Canada Research Professor and

Professor of Art History Institute for Comparative Studies in Literature, Art, and Culture