Institutional funding is crumbling. Positions in museums and universities are practically non-existent. We are left facing a future that might not include curating international blockbuster exhibitions, tenured posts in Higher Education, or publishing glossy tomes. But perhaps that may be for the best.
It is time for Design History to move past its origins.
And so we are taking our ideas elsewhere by necessity and infiltrating other professions. We are historians on the loose. The city furnishes us with gallery walls, the internet with a democratic platform.
We are experimenting with methodology, authorship, distribution, and power-structures: unmaking assumptions about what and where a museum is; asking new questions about the meaning of objects; discovering new ways to bring historical awareness into the contemporary discourse; molding a new, more inclusive role for the historian within our current society, outside the safe walls of established institutions.