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Eilean Hooper-Greenhill, Museums and the Interpretation of Visual Culture, Routledge. Recent scholarship in museum studies has addressed the pitfalls of the modern museum and numerous scholars have proposed methods to reinvent the museum. This scholarship has primarily emerged from the fields of museum studies, history, anthropology, and art history.

In Museums and the Interpretation of Visual Culture , Eilean Hooper-Greenhill contributes to this conversation by applying research from across disciplines, including media studies, educational theory, and indigenous histories, to highlight the cultural politics inherent in European museum displays. Museums which emerged during the nineteenth century, especially those devoted to natural history and anthropology, often built their collections on materials brought from conquered territories.

This appears to have been common among nineteenth-century museums across the West, in both Western Europe and the United States, and has been discussed by a number of scholars of history and museum studies.

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Hooper-Greenhill builds on this concept by emphasizing a function that maps and museum collections shared: both enabled the imaging and imagining of power structures made material. From this point forward, Hooper-Greenhill focuses on specific collections and objects to explore how objects are interpreted and made meaningful within the modern museum.

In the second chapter, the author closely evaluates the first ten years of collecting at the National Portrait Gallery in London to illustrate how objects can be used in a purposeful way to build a visual narrative about British national identity and history. Following Hinemihi, the reader encounters a chapter that outlines the divergent paths of two collections of Maori artifacts: one created by a Maori woman named Makereti and another created by an Englishman named Merton Russell-Cotes.

In the fifth and sixth chapters, the author analyzes processes of visual interpretation and pedagogy that characterize encounters between subjects and objects. In museums, Hooper-Greenhill states, these encounters are shaped by the ways in which objects are selected and displayed. The pedagogic approach in the modern museum, initiated in the nineteenth century and continuing through the twentieth century, treats the audience as a unified group.

This approach, the author notes, has over the years become widely regarded as insufficient and irrelevant to broad social needs. In her closing chapter, Hooper-Greenhill summarizes the above themes in relation to two museum models: the modernist museum and the post-museum.