This is an innovative interdisciplinary book about objects and people within museums and galleries. It addresses fundamental issues of human sensory, emotional and aesthetic experience of objects. The chapters explore ways and contexts in which things and people mutually interact, and raise questions about how objects carry meaning and feeling, the distinctions between objects and persons, particular qualities of the museum as context for person-object engagements, and the active and embodied role of the museum visitor.

Museum Materialities is divided into three sections – Objects, Engagements and Interpretations – and includes a foreword by Susan Pearce and an afterword by Howard Morphy. It examines materiality and other perceptual and ontological qualities of objects themselves; embodied sensory and cognitive engagements – both personal and across a wider audience spread – with particular objects or object types in a museum or gallery setting; notions of aesthetics, affect and wellbeing in museum contexts; and creative and innovative artistic and museum practices that seek to illuminate or critique museum objects and interpretations.

Phenomenological and other approaches to embodied experience in an emphatically material world are current in a number of academic areas, most particularly strands of material culture studies within anthropology and cognate disciplines. Thus far, however, there has been no concerted application of this kind of approach to museum collections and interactions with them by museum visitors, curators, artists and researchers. Bringing together essays by scholars and practitioners from a wide disciplinary and international base, Museum Materialities seeks to make just such a contribution. In so doing it makes a valuable and original addition to the literature of both material culture studies and museum studies.

chapter 1|17 pages

Museum Materialities

Objects, sense and feeling
BySandra H. Dudley

part 1|80 pages


chapter 2|18 pages

Photographs and History

Emotion and materiality
ByElizabeth Edwards

chapter 3|14 pages

Remembering the Dead by Affecting the Living

The case of a miniature model of Treblinka
ByAndrea Witcomb

chapter 4|18 pages

Touching the Buddha

Encounters with a charismatic object
ByChristopher Wingfield

chapter 5|18 pages

Contemporary Art

An immaterial practice?
ByHelen Pheby

chapter 6|10 pages

The Eyes Have It

Eye movements and the debatable differences between original objects and reproductions
ByHelen Saunderson, Alice Cruickshank, Eugene McSorley

part 2|86 pages


chapter 7|11 pages

Experiencing Materiality in the Museum

Artefacts re-made
ByAlexander Stevenson

chapter 8|14 pages

Virginia Woolf's Glasses

Material encounters in the literary/artistic house museum
ByNuala Hancock

chapter 9|15 pages

When Ethnographies Enter Art Galleries

ByLydia Nakashima Degarrod

chapter 10|19 pages

Engaging the Material World

Object knowledge and Australian Journeys
ByKirsten Wehner, Martha Sear

chapter 11|13 pages

Watch Your Step

Embodiment and encounter at Tate Modern
ByHelen Rees Leahy

chapter 12|10 pages

Reconsidering Digital Surrogates

Toward a viewer-orientated model of the gallery experience
ByBradley L. Taylor

part 3|89 pages


chapter 13|15 pages

Dancing Pot and Pregnant Jar?

On ceramics, metaphors and creative labels
ByWing Yan Vivian Ting

chapter 14|20 pages

Myth, Memory and the Senses in the Churchill Museum

BySheila Watson

chapter 15|17 pages

Dreams and Wishes

The multi-sensory museum space
ByViv Golding

chapter 16|19 pages

Making Meaning Beyond Display

ByChris Dorsett

chapter 17|14 pages

Authenticity and Object Relations in Contemporary Performance Art

ByKlare Scarborough

chapter |11 pages


ByHoward Morphy