Sarah is a member of the Centre for Critical Studies in Museums, Galleries and Heritage, Leeds, and is part of the postgraduate committee working to promote the Cultural Value Research Theme at the University of Leeds. She also has a background in gallery education, with a particular focus on adult learning, and is passionate about the provision of engaging arts experiences for all. She completed her MA in Art Gallery and Museum Studies with Distinction (University of Leeds, 2012), and holds a BA with First Class Honors in Fine Art (Leeds Beckett University, 2008).
Sessions in which Sarah Harvey Richardson participates
Saturday 4 June, 2016
Sessions in which Sarah Harvey Richardson attends
Friday 3 June, 2016
This forum will explore the current directions of critical heritage studies and what makes ACHS distinctive. Panel members will discuss what the term critical means to them, and what directions they would like to see develop in the future. To help develop an open dialogue, the session will also give considerable time to contributions from the audience.
Welcome addresses and cocktail, followed by the Concordia Signature Event "The Garden of the Grey Nuns". As the opening ceremony and cocktail take place in the former Grey Nuns' Motherhouse, recycled into campus residence and reading rooms by Concordia University, delegates will also have the possibility to discover the video Three Grey Nuns (3 minutes, by Ron Rudin and Phil Lichti. Three Grey Nuns recount their memories of communal life in the Grey Nun’s Motherhouse. Built...
Saturday 4 June, 2016
What if we changed our views on heritage? And if heritage has already changed? While, on the global scene, states maintain their leading role in the mobilization of social and territorial histories, on the local scale, regions, neighbourhoods and parishes have changed. Citizens and communities too: they latch on to heritage to express an unprecedented range of belongings that no law seems to be able to take measures to contain, often to the discontent of...
The notion of heritage is closely linked to processes of change. In the Western context, the definition of heritage as "a contemporary product shaped from history" (Harvey 2010) highlights the extent to which our relationship with the past is being continually re-configured. However, there is a future dimension implied in this relationship that is often neglected; to paraphrase William Morris, the sense in which heritage testifies to the hopes and aspirations of those now passed away. Making ...
Most of what we experience as heritage emerges into conscious recognition through a complex mixture of political and ideological filters, including nationalism. In these processes, through a variety of devices (museums, scholarly research, consumer reproduction, etc.), dualistic classifications articulate a powerful hierarchy of value and significance. In particular, the tangible-intangible pair, given legitimacy by such international bodies as UNESCO, reproduces a selective ordering of cul...
Sunday 5 June, 2016
With his expression "ceci tuera cela," Hugo established almost two centuries ago a strong link between words and stones as transmission vehicles of human memory. We heritage experts would be inclined to consider stones as more reliable than words, what semiology seems to confirm: stones are clues, and clues are, according to Roland Barthes, tangible proofs of “what has been.” But the inspector Columbo has often shown how we can play with these clues, and Umberto Eco would easily forgive us th...
Monday 6 June, 2016
The field of heritage has emerged as a key site of reflection. Influenced by shifts in the academy (e.g., post-colonial, post-structural and feminist theories), heritage scholars are bringing increased attention to the deployment of heritage as both a conceptual category and a contested field of power and discourse. Nevertheless, significant challenges remain in communicating what comprises the theoretical and methodological toolkit of heritage studies. Scholars are still mapping out the nuan...
Space plays a crucial role in the production and meaning-making of cultural heritage. Although space has often been discussed in heritage studies, further critical analysis of the constructive and performative nature of space, in particular that of scale and territoriality, is needed in order to understand the power hierarchies and mechanisms of power in cultural heritage and in various conflicts related to its meanings, ownership, preservation and management. The idea of cultural herit...
Le patrimoine fait aujourd’hui l’objet d’attentions autant que d’agressions et de destructions. Cela peut s’expliquer par les difficultés de son identification ou de sa conservation. Cela peut plus profondément s’expliquer parce que, dès le départ, il célébre un événement ou conserve une mémoire qui peut être ou devenir une source de dissenssions et de conflits politiques. Enfin, sa reconnaissance suscite des gains économiques pour les uns mais des pertes pour les autres. Mais peut-être...
Tuesday 7 June, 2016
Involving communities, visitors or the public is frequently presented as one of the major tasks of museums and heritage sites in current global movements toward new collaborative paradigms (Golding and Modest 2013; Watson and Waterton 2011). Co-production is a highly current issue, and a proposed emancipatory solution to the authorized heritage discourse, which seemingly has reached a critical juncture. Scholarship has echoed calls from communities for more direct involvement in the presentat...
What is the future of the UK and what is the role of heritage in this shifting political landscape? How have debates on heritage in the UK changed since the influential critiques of Hewison and Wright in the 1980s? How can those engaged in Critical Heritage Studies in the UK negotiate the difficult relationship between academic critique and sector relevance? How do current debates in the UK relate to and differ from those in Western and non-Western contexts? This workshop will bring ...