Friends of the Museum Events Programme

Michael O’Hanlon, Penelope Lively and Philip Pullman, © Studio Edmark

Friends Magazine

On 1 October 2016 issue 85 of the FPRM Magazine received first prize in the British Association of Friends of Museums' publication awards for Museums with between 250 and 750 Friends.  This follows awards for 2005, 2008 and 2013 and an honourable mention for the 30th Anniversary edition, issue 81 in 2015. 

Download issues 818283848586 and 87 here. The new edition of the magazine (issue 88, Winter/Spring 2017) is on sale in the Museum shop at £1.

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Supporting the Friends - donation form (pdf)

Friday 5 May, 17.45 for 18.15

For this year's Beatrice Blackwood Evening, Alexander Armstrong will give us a light-hearted spree through that peculiar constellation of cultural strands that we like to call Britishness, in the jocular style that we know from his TV appearances. He will explore the Pitt Rivers Museum's exotic collection of treasures from around the world - expect accents, flora, fauna and even squawks! Tickets: £16 (£14 for Friends), includes refreshments in Pitt Rivers Museum until 9pm. Tickets available from Museum shop or book online.

Wednesday 14 June, 18.00 for 18.30

The PRM Director talks about a programme to develop new practices around collection research and the ways museum collections have relevance beyond stores or displays. Working with representatives of different indigenous peoples from current day Suriname and Brazil - Wayana, Trio, Lokono, Kari'na, Ka'apor and Kayapo- it was clear that objects tell a multitude of stories. What is currently recorded on inventory cards in museum collections are but very limited readings of the many meanings objects had, have and can have as they tell about ever changing personal and historical relationships. In the stores, objects inspired story-telling, dance and prayer that ensured cultural care and the cultural re-awakening of objects and triggered, sometimes painful, memories. How can work on these collections, and the many relationships they embody, inform new practices of collecting, preserving and curating? And how do they inform discussions around redress, authority, access and restitution?