3. Arrangement of the Exhibit
HAVING KNOWN THIS FATE OF OURS SO
WELL
WANDERING AROUND AMONG BROKEN
STONES, THREE OR SIX
THOUSAND YEARS
SEARCHING IN COLLAPSED BUILDINGS
THAT MIGHT HAVE BEEN
OUR HOMES
TRYING TO REMEMBER DATES AND
HEROIC DEEDS:
WILL WE BE ABLE?
--GEORGE SEFERIS, MYTHISTOREMA,
NO. 22
4. Educational
“Art was understood
to be a source of
valuable moral and
spirtual experience”
(254)
- Duncan
Provides a variation
demonstrating a
progression
6. Esslinger’s reference of making
a selection in order to culturally
approach nationalistic and
idealistic ideas to the public.
(321)
7. Cultural
According to Clifford with
the types of classification
and the way objects are
portrayed the historical
content can be overridden
if we don’t have a sense in
valuing the objects. (220)
8. Conclusion
Through the science fiction collection a historical period
is brought back and has developed in this style of
writing. The collection’s outlook and structure format
has given ways to ours use in society by cultural
integration in our own identity, education and events.
9. Bibliography
Bear, Greg, "Strange Data Infinite Possibilities," (Lecture presented in San
Diego StateUniversity, Love Library, San Diego, April 18, 2013).
Clifford, James, "On Collecting Art and Culture," The Predicament of
Culture Cambridge, MA: Harvard University Press (1998): 215-
B251.
Culbertson, Anna W. Alejandra Fernandez. Exhibit Interview. Special
Collection SDSU Love Library, April 5,2013.
Duncan, Carol. From the Princely Gallery to the Public Art Museum: The
Louvre Museum and the National Gallery, London. The Art of Art
History: a critical anthology,(New York: Oxford University Press,
1998), 250-275.
Esslinger, Sandra. Performing The Museal Framing of Nazi Ideology. The
Art of Art History: a critical anthology, (New York: Oxford
University Press, 1998), 320-339.
