Tom Flynn has written a book on the Universal Museum – and why it should not be seen as a valid model for museums any longer. This presents a refreshing antidote to the views espoused by James Cuno, in his book on the subject.

You can purchase the book on Lulu.

From:
Tom Flynn

The Universal Museum: A valid model for the 21st century?
The Universal Museum
By Tom Flynn

A considered critical response to the Declaration on the Importance and Value of Universal Museums issued by the Bizot Group of Museum directors in 2002. The text offers a critique of the concept of the Universal Museum by tracing its historical roots in the Cabinets of Curiosity assembled by European princes from the fifteenth to the seventeenth centuries. The early ‘universal’ cabinet collections ultimately formed the foundations of the great western ‘encyclopedic’ museums which in turn benefited from the era of colonialism and imperial adventure in the nineteenth century. The book argues that the concept of a ‘universal museum’ is philosophically and practically flawed, an anachronistic aspiration that is the product of an idealistic, eighteenth-century Enlightenment mindset devoted to the accumulation and classification of all species of flora and fauna, natural and man-made objects. Such collections are not only unsustainable but perpetuate many of the worst aspects of the age of imperialism.

Buy the book now on Lulu:
https://www.lulu.com/commerce/index.php?fBuyContent=12656359

It is a few years now since the Declaration of Universal Museums. Whilst many have declared that the concept (as portrayed at the time) is dead in the water, this powerful group of institutions still have the potential to manipulate popular opinion & to over-rule the more democratic backbones of the museum community such as ICOM.

From:
Guardian News (Nigeria)

Fatwa of Cairo gathering on looted artefacts
By Tajudeen Sowole

COLLECTIVE attempt made last month – perhaps for the first time – by countries demanding for restitution of disputed cultural objects is though laudable. However, it is an uphill task and capable of rattling existing conventions on the issue.

The two-day conference tagged International Cooperation for the Protection and Repatriation of Cultural Heritage and held in Cairo, Egypt came eight years after keepers of these artefacts gathered under the name, Bizot Group and declared a concept of universal museum. The ownership of such works, Bizot argued in France, should not be confined to geographical boundaries.
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Museums in the USA were founded on very different principles to many of those in Europe. Nowadays, this difference is starting to manifest itself in their more pragmatic approach to the restitution of disputed artefacts in their collections.

From:
Slate

Trading Places
Cultural property disputes are reshaping the art world—but how?
By Carol Kino
Posted Monday, July 28, 2003, at 12:25 PM PT

It’s a sad truth that the depredations of war and imperialism have sometimes had positive side effects for art history. Take the Metropolitan Museum’s recent “Manet-Velázquez” show, on the influence of 17th-century Spanish painting on 19th-century French art. For most of the 18th century, Spanish artists like Murillo, Zurbaran, and Velázquez were little known outside their homeland. Then in the early 1800s, hundreds of Spanish paintings arrived in Paris as Napoleonic war loot. Some were briefly shown at the Louvre before Napoleon’s defeat, after which they were returned. Later that century, French artists began adopting the Spanish artists’ realist aesthetic and loose, sensuous brushwork—a move that laid the foundations of Impressionism and radically changed the course of modern art.

Unlike many European museums, American museums were built with civic and capitalist muscle, rather than imperial might. Yet well into the 1970s their attitude toward acquisitions—as any expert will admit off the record—was frequently “don’t ask, don’t tell.” But today American courts are dealing with an unprecedented number of Holocaust reparation cases. And last year, the Justice Department successfully prosecuted a well-known New York dealer, Frederick Schultz, for conspiring to receive stolen Egyptian antiquities. As a result, some foreign collectors and museums have become more cautious about loaning work to museum shows—particularly those in America—and everyone has become vastly more diligent about conducting provenance research before buying.
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Many countries (generally most of those whose institutions weren’t involved in signing the declaration) have issues with the “Declaration on the Importance and Value of Universal Museums”, that was issued a few months ago. The declaration favours only seeing one version of history, while ignoring other verions and the original owners.

From:
People’s Daily

Last updated at: (Beijing Time) Wednesday, January 22, 2003
Foreign Museums Refuse to Return Cultural relics, Chinese Experts in Action

On 10 December, 2002, eighteen major museums and research institutes of Europe and America, including the British Museum and the Louvre Museum, jointly signed a Declaration on the Importance and Value of Universal Museums (hereinafter referred to as “Declaration”), which opposes returning art works, especially ancient ones, to their original owners.

On 10 December, 2002, eighteen major museums and research institutes of Europe and America, including the British Museum and the Louvre Museum, jointly signed a Declaration on the Importance and Value of Universal Museums (hereinafter referred to as “Declaration”), which opposes returning art works, especially ancient ones, to their original owners.
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The so called “Universal Museums” claim to represent the whole world, but it must be borne in mind, that this is an entirely self-appointed role, which comes at the expense of many specialist local museums. Proclaiming that they are in a different category of institution, to which the rules don;t apply in the same way as they do to others, raises far more problems than it solves.

From:
The Art Newspaper

We serve all cultures, say the big, global museums
Leading institutions seek to shift focus of debate on restitution
By Martin Bailey

LONDON. The world’s leading museums have for the first time united to issue a declaration. Their statement on “the importance and value of universal museums” follows increasing concern about the politicisation of Greek claims against the British Museum (BM) over the Parthenon Marbles.

Although the declaration released in December does not specifically mention the marbles, it points out that the acquisition of classical antiquities from Greece by European and North American museums “marked the significance of Greek sculpture for mankind as a whole and its enduring value for the contemporary world.”
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