Books by "Hudson River Museum"
3 books found
Hudson River Valley National Heritage Area
by Hudson River Valley National Heritage Area
2011 · SUNY Press
Complete guide to the Heritage Sites of the Hudson River Valley National Heritage Area.
Havell s work, (who also created many of the landscapes for Audubon s famous birds) includes panoramic publications and paintings of the Hudson River and the Thames like other artists in this exhibition such as Thomas Cole (Father of the Hudson River School), and noted artists Jasper Cropsey and John Kensett, who favored the chain of cities, suburbs, and countryside along these two rivers, where horizontal planes and historical associations gave form to both artistic and cultural expression. The Panoramic River features major loans from more than two dozen museums, galleries, and private collections. Museums lending paintings include: The Metropolitan Museum of Art; The New-York Historical Society; Museum of Fine Arts, Boston; Baltimore Museum of Art; Fenimore Art Museum; The Frances Lehman Loeb Art Center at Vassar College; Maryland State Archives; West Point Museum; Williams College Museum of Art; Princeton University Art Museum; and the Yale Center for British Art.
Self-Determined First Nations Museums and Colonial Contestation
by Robert Hudson, Shannon Woodcock
2022 · Routledge
Self-Determined First Nations Museums and Colonial Contestation explores Indigenous practices of curation, object repatriation, and cross-cultural community engagement in a dynamic Koori museum. Grounded in the fact that Gunai Kurnai people have never ceded sovereignty, the text reorients dominant temporal and colonial approaches of museum studies to document and theorise Gunai Kurnai self-presentation and community engagement in the Krowathunkooloong Keeping Place. Researched and co-authored by the Cultural Manager of the Keeping Place, Gunai Kurnai Monero Ngarigo man Robert Hudson, and white Historian Shannon Woodcock, the book traces the temporal, social, and cultural considerations of the Elders who curated the permanent exhibition in the early 1990s. Discussing community management of a collection growing through the ongoing repatriation of tools, art, and Ancestor remains, the text also explores how Robert Hudson engages with visitors to the Keeping Place and local colonial history museums, and theorises the power of Gunai Kurnai work with individuals and institutions in the small museum context. Finally, Hudson and Woodcock demonstrate that the Keeping Place articulates sophisticated Gunai Kurnai-grounded methodologies of museum practice in relation to international critical Indigenous studies scholarship. Self-Determined First Nations Museums and Colonial Contestation provides a vital case study of an Indigenous museum space written from an inside perspective. As such, the book will be essential reading for scholars and students engaged in the study of museums and heritage, Indigenous peoples, decolonisation, race, anthropology, culture, and history.