Précis-Tony Bennett, "The Political Rationality of the Museum-.
In The Birth of the Museum: History, Theory, Politics Tony Bennett discusses the roles the museum plays in regard to the organization of objects and history, the establishment of acceptable public behavior and the display of power. Bennett draws on Foucault to link the museum with the prison insomuch that both aim at "regulating the conduct of individuals and populations."" Like the prison the museum is "equally a space of exclusion and confinement- according to Crimp. The museum also establishes a "norm- in public conduct through behavior imitation, thus serving as a form of social education. The museum has become a forum or stage for a "public display of power to the general population."" This display, previously shown through public punishment for example, is now seen in the hierarchy and categorization of objects in the museum, as well as the rules it imposes on patrons. .
Drawing on Hooper-Greenhill, Bennett brings to light the contradictions that museums operate under. First there is the dual role they have come to play, being both an "elite temple of the arts- while also serving as a "utilitarian instrument for education."" There are also two major demands put on museums: to be open and accessible to all people, and to "adequately- represent the different cultures and values of the diverse public. The museum has come to embody " a principle of general human universality."" This is so broad an expectation that no museum is fully able to accomplish it. Reform is called for time and again based on race, gender, class, or other social exclusion. .
Due to its conflicting agenda, the museum may fall short of appealing to and equally representing the general populace, however it has played a major role in educating the public, both academically and civically, as well as demonstrating displays of power. The museum differs from its predecessors in that it addresses the public as its subject, instead of its object.
