Museology and heritage studies Books

Book SynopsisOver the last twenty years museums have proliferated, attracting new audiences and assuming new prominence in public life. The Return of Curiosity offers a fresh perspective on museums and what they may now be good for. Nicholas Thomas argues that what is special about museums are their collections, which are not just rich resources for reflection, but creative technologies that enable people to make new things in the present.Reflecting on art galleries, science and history institutions, and museums around the world, Thomas shows that in times marked by insecurity and increasing conflict, museums can help to sustain and enrich society. They stimulate a curiosity that is vital to understanding and negotiating the cosmopolitan but dangerous world we all now inhabit. The Return of Curiosity is a book that anyone who visits and enjoys museums will find engaging and stimulating. Curators, arts and heritage professionals, policymakers and all museum studies teachers and students need to own and read this influential book.

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Book SynopsisDuring the late twentieth century, the number of museums in the UK dramatically increased. Typically small and independent, the new museums concentrated on local history, war and transport. This book asks who founded them, how and why.In order to find out more, Fiona Candlin, a professor in museology, and Toby Butler, an expert oral historian, travelled around the UK to meet the individuals, families, community groups and special interest societies who established the museums. The rich oral histories they collected provide a new account of recent museum history – one that weaves together personal experience and social change while putting ordinary people at the heart of cultural production.Combining academic rigour with a lively writing style, Stories from small museums is essential reading for students and museum enthusiasts alike.Trade Review'In the depth of its observations and via beautiful writing, Stories from small museums does an incredible job... The results are a book that will make you feel as if you have found new friends, learned new things, and above all, been reminded of the richness of human existence.'Oral History Society -- .Table of ContentsIntroduction: founding stories, finding stories 1 Transport museums: loving objects and each other 2 War and conflict museums: muttering in the corridors of power 3 Local history museums: at the centre of the universe4 The museum founders: getting on the footplate Conclusions: the micromuseums boomIndex

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Book SynopsisEminent art historian Charles C. Eldredge brings together top scholars to celebrate forgotten artists and create a more inclusive history of American art. Why do some artists become canonical, while others, equally respected in their time, fall into obscurity? This question is central to The Unforgettables, a vibrant collection of essays by leading experts on American art. Each contributor presents a brief for an artist deserving of new or renewed attention, including artists from the colonial era to recent years working in a wide variety of mediums. Histories of American art have traditionally highlighted the work of a familiar roster of artists, largely white and male. The achievements of their peers, notably women and artists of color, have gone uncelebrated. The essays in this volume provide a new and richer understanding of American art, expanding the canon to include many worthy talents. A number of these artists were acclaimed in their day; others, having missed that acclaim, may achieve it now. With contributions from major scholars and museum professionals, The Unforgettables rescues and revises reputations as it enhances and enriches the history of American art.Trade Review"Succeeds in bringing to light the lives and work of artists whose talents have long been neglected. Art buffs would do well to pick up this canon-expanding survey." * Publishers Weekly *Table of ContentsContents Preface: Attention Must Be Paid! Charles C. Eldredge Introduction: Unk., Untitled, n.d., lost Kirsten Pai Buick MAKING FACES, AND MORE: PORTRAITS AND FIGURES, 18TH–19TH CENTURIES REDISCOVERING THE MODERN FIGURE LIMNING THE LAND: TOPOGRAPHY AND TEMPERAMENT SPEAKING OF STILL LIFES—AND LISTENING TO THEM, TOO ENRICHING ABSTRACTION DESIGNING BEYOND THE EASEL Acknowledgments List of Contributors List of Illustrations Index

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Book SynopsisA vivid and moving celebration of the ways that Black Americans have shaped and been shaped by photography, from its inception to the present day. A Picture Gallery of the Soul presents the work of more than one hundred Black American artists whose practice incorporates the photographic medium. Organized by the Katherine E. Nash Gallery at the University of Minnesota, this group exhibition samples a range of photographic expressions produced over three centuries, from traditional photography to mixed media and conceptual art. From the daguerreotypes made by Jules Lion in New Orleans in 1840 to the Instagram post of the Baltimore Uprising made by Devin Allen in 2015, photography has chronicled Black American life, and Black Americans have defined the possibilities of photography. Frederick Douglass recognized the quick, easy, and inexpensive reproducibility of photography and developed a theoretical framework for understanding its impact on public discourse, which he delivered asTable of ContentsContents Foreword Deborah Willis Preface Herman J. Milligan, Jr. Preface Howard Oransky Mining the Archive of Black Life and Culture Cheryl Finley A Visual Politics of Black Pleasure crystal am nelson Why We Wear a Suit to Do the Work Seph Rodney Plates Notes to Plates Contributor Biographies Index

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Book SynopsisStop wandering, start acting! Find out how museum guards can be to your advantage. Learn the rule of thumb to distinguish good art from bad art. How to Visit an Art Museum is a short, fun, and rewarding read, full of tips and inspiring illustrations to get the most out of your museum visit.

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Book SynopsisIn an age of protest, culture and museums have come under fire. Protests of museum funding (for example, the Metropolitan Museum accepting Sackler family money) and boards (for example, the Whitney appointing tear gas manufacturer Warren Kanders)--to say nothing of demonstrations over exhibitions and artworks--have roiled cultural institutions across the world, from the Guggenheim Abu Dhabi to the Akron Art Museum. At the same time, never have there been more calls for museums to work for social change, calls for the emergence of a new role for culture.As director of the Queens Museum, Laura Raicovich helped turn that New York municipal institution into a public commons for art and activism, organizing high-powered exhibitions that were also political protests. Then in January, 2018, she resigned, after a dispute with the Queens Museum board and city officials became a public controversy--she had objected to the Israeli government using the museum for an event featuring vice president Mike Pence.In this book, Raicovich explains some of the key museum flashpoints, and she also provides historical context for the current controversies. She shows how art museums arose as colonial institutions bearing an ideology of neutrality that masks their role in upholding capitalist values. And she suggests how museums can be reinvented to serve better, public ends.Trade ReviewUrgent -- Travis Diehl * art-agenda *[Culture Strike] brilliantly problematizes the pervasive old myth of "neutrality." -- Dessane Lopez Cassell * Hyperallergic *A must-read ... Culture Strike contains layers of honest observation from museum professionals, loving critique, historical context, and case studies that illuminate the best and worst in museum culture to offer a clear path forward. -- Cara Ober * BmoreArt *Maps out thoughtful considerations of pressing subjects that apply everywhere. Among them are the private power of philanthropy, the practical and spiritual benefits of staff diversity, unionizing cultural institutions, and the contours of museums' social responsibility. -- Christopher Knight * Los Angeles Times *Offers key contextual and historical lenses through which to consider protests that have occurred at institutions worldwide, addressing topics from museum funding to workers' rights. * Ocula *An engaging and personally invested discussion of the many controversies that have engulfed American museums -- JJ Charlesworth * ArtReview *Table of Contents1. Revelations Artist Nan Goldin and the Sackler Family * The Historical Roots of Museums * The Untenability of the Universal * Progressive Era Reform 2. Art and Context Colonialism and Repatriation * Dana Schutz at the Whitney * The Philip Guston Retrospective * Sam Durant at the Walker 3. Show Me the Money Questions for Philanthropy * Warren Kanders, Tear Gas, and the Whitney * Reimagining Public Funding * Questioning Governance4. Unlearning, Undoing, Remaking Alternate Storytellings * Approaches to Decolonization and Indigenization * Survivance 5. The Neutrality Problem Spilled Ink * Materializing the Neutral * Working toward the "Not-Yet"6. Going Forward Who Is "We"? * Collective Work * Invitations to Participate * Public Culture 7. Liberation Serif COVID-19 * Breath * Reckonings and Demands

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Book SynopsisPart memoir, part detective story, part untold history of museums - The Museum Makers is a fascinating and moving family story.'Rachel Morris is one of the smartest storytellers I have ever met ... a wonderful and beguiling book' James Rebanks, author of The Shepherd's Life Without even thinking I began to slide all these things from the dusty boxes under my bed into groups on the carpet, to take a guess at what belonged to whom, to match up photographs and handwriting to memories and names - in other words, to sort and classify. As I did so I had the revelation that in what we do with our memories and the stuff that our parents leave behind, we are all museum makers, seeking to makes sense of the past.; Museum expert Rachel Morris had been ignoring the boxes under her bed for decades. When she finally opened them, an entire bohemian family history was laid bare. The experience was revelatory - searching for her absent father in the archives of the Tate; understanding the loss and longings of the grandmother who raised her - and transported her back to the museums that had enriched her lonely childhood. By teasing out the stories of those early museum makers, and the unsung daughters and wives behind them, and seeing the same passions and mistakes reflected in her own family, Morris digs deep into the human instinct for collection and curation.Trade Review'Rachel Morris is one of the smartest storytellers I have ever met ... a wonderful and beguiling book' James Rebanks, author of The Shepherd's Life 'Skilfully interwoven, history, reflection and detective work bouncing off one another to build a spirited narrative ... engrossing.' Spectator 'Immensely thought-provoking.' The Herald 'Morris' writing is immediately welcoming, and the content is warmly familiar for any reader working within the museums and heritage profession (although this is not a prerequisite to enjoying the book) ... It is a timely book at a moment when the heritage sector is asking challenging questions' Ferren Gipson, Arts Quarterly 'In this elegant and eloquent book Morris explores the contents of the boxes under her bed to calmly piece together a family pattern of loss and extreme eccentricity. As a museum curator, she meditates on the nature of museums: the Museum of Me we all carry in our heads, and the public institutions in which variations of the world's history are told.' Julia Blackburn, author of Time Song: In Search of Doggerland 'A fascinating meditation on the life of objects and their power to trigger our memories. It awakened my curiosity to the realms of history, pain, and longing we access through the simple act of collecting.' Dina Nayeri, author of The Ungrateful Refugee

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Book Synopsis Recent years have witnessed a rapid increase in the fields of cultural heritage studies and community archaeology worldwide with expanding discussions about the mechanisms and consequences of community participation. This trend has brought to the forefront debates about who owns the past, who has knowledge, and how heritage values can be shared more effectively with communities who then ascribe meaning and value to heritage materials. Globalization forces have created a need for contextualizing knowledge to address complex issues and collaboration across and beyond academic disciplines, using more integrated methodologies that include the participation of non-academics and increased stakeholder involvement. Successful programs provide power sharing mechanisms and motivation that effect more active involvement by lay persons in archaeological fieldwork as well as interpretation and information dissemination processes. With the contents of this volume, we envision community archaeology to go beyond descriptions of outreach and public engagement to more critical and reflexive actions and thinking. The volume is presented in the context of the evolution of cultural heritage studies from the 20th century “expert approach” to the 21st century “people-centered approach,” with public participation and community involvement at all phases of the decision-making process. The volume contains contributions of 28 chapters and 59 authors, covering an extensive geographical range, including Africa, South America, Central America, Western Europe, Eastern Europe, North America, and Australasia. Chapters provide exemplary cases in a growing lexicon of public archaeology where power is shared within frameworks of voluntary activism in a wide diversity of cooperative settings and stakeholder interactions.Trade Review“The next dimension is to develop heightened clarity on the goals of community/public archaeology, the metrics by which successful impacts will be measured, and the techniques that can be used to measure them. The next dimension will take us beyond archaeology as it was to archaeology as it must become. For that, the essential contribution from Jameson and Musteaţă’s book is that it delivers a capstone to past publications and in so doing, begins to make the next dimension conceivable.” (Peter G. Gould, American Antiquity, Vol. 85 (3), 2020)“The papers in the volume highlight that public involvement has a two-way benefit and that increased stakeholder involvement, and power-sharing mechanisms that encourage greater participation by lay people, benefit archaeology and heritage practice in multiple ways.” (Antiquity, Vol. 94, 2020)Table of ContentsPART 1. Public Archaeology at the Intersections of Heritage and Community.- 1. Creating Opportunities and Managing Expectations: Evaluating Community Archaeology in Ireland.- 2. A tale of the unexpected: a heritage encounter with a new target audience and the sociocultural effects experienced by this community of participants.- 3. Community archaeology in Eastern Europe, An example from the Republic of Moldova.- 4. Heritage and Public Archaeology in South-western Nigeria .- 5. Barriers to community archaeology: reviewing the legal heritage frameworks within the South African context.- 6. Community archaeology can be 'a piece of cake': Key ingredients for community-based approaches.- 7. Ancient Maya House and Forest Garden: Shared Connections.- 8. Heritages in Conflict: Interpreting Controversial History with Community Engagement.- 9. Increasing Heritage Awareness through Community Participation: African-Brazilian community participation in a diversity context.- PART 2. Catalysts for Inclusive Heritage at Cultural Landscapes and Parks.- 10. Shipwrecks and Sport Divers: Florida's Programs in Participatory Preservation Underwater.- 11. Time Traveling in Delaware State Parks: Some Strategies for a Public Participatory Program.- 12. From Performance to Participation: Fostering a sense of shared heritage through archaeology at the Presidio of San Francisco.- 13. Popular Memories and Imagined Futures at the President's House Site: A case study juxtaposing public policy and 'the public' in the determination of archaeological site significance.- 14. Archaeological Commitment to Participation from the Local to the International: Discovering the El Pilar Community.- 15. The Value of Biodiversity Conservation in the Process of Making a Historic Park.- 16. Folklore as landscape biography in the interpretation of cultural landscapes: Great Zimbabwe and North York Moors National Park (England).- 17. Promoting Descendant Communities in Urban Community Archaeology: A study of Canberra, Australia.- 18. Working with communities and World Heritage places: Local, professional and educational communities and the Port Arthur Historic Site Management Authority.- 19. Reclaiming Rock Art: Descendant Community Investment in Australian and New Zealand Patrimony.- 20. From Forgotten to National Monument: Community Archaeology at a World War II internment camp in Hawai‘i.- PART 3. Catalysts for Inclusive Heritage with New Knowledge Creation and Innovation.- 21. Bring it on! Increasing heritage participation through engagement opportunities at unconventional places.- 22. Citizen scientists and open source data: developing a platform for archaeological material in Finland.- 23. Community Archaeology and Engagement at Trellech, Wales.- 24. Documenting and Memorializing Built Heritage through Urban Exploration in Detroit, Michigan.- 25. Like Ripples across a Pond: Catalyzing Heritage Programs through Radical Openness.- 26. Activism from the Archives: changing narratives to engage new communities.- 27. Reaching out: The participatory culture model and current approaches to the creation new archaeological knowledge with local communities.- 28. Computational Mathematics, Convergence Culture, and the Creation of Archaeological Knowledge and Understanding

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Book SynopsisScandal, Shock and Rivalry Can Be an Artist’s Best FriendsScandal, shock and rivalry all have negative connotations, don’t they? They can be catastrophic to businesses and individual careers. A whiff of scandal can turn a politician into a smoking ruin. But these potentially disastrous “negatives” can and have spurred the world of fine art to new heights. A look at the history of art tells us that rivalries have, in fact, not only benefited the course of art, from ancient times to the present, but have also helped shape our narrative of art, lending it a sense of drama that it might otherwise lack, and therefore drawing the interest of a public who might not be drawn to the objects alone. There would be no Sistine Chapel by Michelangelo had rival Raphael not tricked the pope into assigning him the commission, certain that Michelangelo, who had never before worked with frescoes, would botch the job and become a laughing stock. Scandal and shock have proven to be powerful weapons when harnessed and wielded willfully and well. That scandal is good for exposure has been so obviously the case that many artists have courted it intentionally, which we will define as shock: intentionally overturning expectations of the majority in a way that traditionalist find dismaying or upsetting, but which a certain minority avant-garde find exciting. From Damien Hirst presenting the public with a shark embalmed in formaldehyde and entombed in a glass case to Marcel Duchamp trying to convince the art community that a urinal is a great sculpture shock has been a key promotional tool.The Devil in the Gallery is a guided tour of the history of art through it scandals, rivalries, and shocking acts, each of which resulted in a positive step forward for art in general and, in most cases, for the careers of the artists in question. In addition to telling dozens of stories, lavishly illustrated in full color, of such dramatic moments and arguing how they not only affected the history of art but affected it for the better, we will also examine the proactive role of the recipients of these intentionally dramatic actions: The art historians, the critics and even you, the general public. The Devil likes to lurk in dark corners of the art world, morphing into many forms. Let us shed light upon him.Table of ContentsTable of ContentsSympathy for the DevilChapter 1: ScandalChapter 2: ShockChapter 3: RivalryWhen the Best Artists are “Bad”About the Author

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Book SynopsisThe Brain-Friendly Museum proposes an innovative approach to experiencing and enjoying the museum environment in new ways, based on the systematic application of cognitive psychology and neuroscience. Providing practical guidance on navigating and thinking about museums in different ways, the book is designed to help develop more fulfilling visitor experiences. It explores our cognitive processes and emotions, and how they can be used to engage with and enjoy the museum environment, regardless of the visitor's background, language, or culture. The book considers core cognitive processes, including memory, attention, and perception, and how they can successfully be applied to the museum environment, for example, in creating more effective displays. Using evidence-based examples throughout, the book advocates for a wellbeing approach improving visitor experience, and one that is grounded in research from psychology and neuroscience. This book is a must-read for Table of Contents1. The Brain-Friendly Museum: How Psychology and Neuroscience Can Help Museums to be Brain-Friendly and Promote Wellbeing. 2. Emotions: The First Connection to Our Cultural Heritage. 3. Perception and Museum Display. 4. Attention, Memory, and Learning in Museums. 5. What is the Right Language and Type of Communication to Engage Different Kinds of Museum Audiences? 6. Problem Solving, Decision-Making, Judgement, Reasoning, and Creativity: The Role Of Museums in the Visitors' Cognitive Growth. 7. Musuems, The "Magic Box", and Neuroscience Tools. 8. Museums: How They Foster Wellbeing. A Round-Up of Initiatives 9. Parallel Worlds: Popular Education Through Neuroscience and the Fine Arts 10. The Museum And Quality of Life. 11. Unlocking Value In Museums and Art Galleries Through Measuring Wellbeing. 12. The Museum's Mind: A Genetic Code For Cultural Exhibitions. 13. Virtual Reality and Neuroarchaeology: Visual Perception and Cognition of an Archaeological Excavation. An End That is a Beginning

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Book SynopsisThis book draws from the author's nearly three-decade career of being the only one in the room. Cecile Shellman builds a process for individualizing, identifying, and prioritizing DEAI challenges; acknowledges key universal challenges in goal-setting and goal achieving; and shares resources and tools for making and charting progress.

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Book SynopsisThroughout its long history in Western art, canvas has played an influential role in the creative process. From the Renaissance development of oil painting on canvas to the present day-through Impressionism, Abstract Expressionism, and other art historical movements-the use of canvas has enhanced the scale of painting, freedom of brushwork, and spontaneity in technique. This book recounts some of that rich history in relation to corresponding developments in conservation practice. Rather than concentrating on the familiar concerns of cleaning and varnish removal, this volume considers the preservation of a painting's structure. By focusing on recent studies on the fundamental nature of canvas and its mechanisms of deterioration, the book explains new approaches to the conservation of both contemporary and historical art-including reversible, passive, and preventive treatments, particularly with respect to lining. Written by Stephen Hackney, a conservation practitioner and leader in conservation research, On Canvas is the first book to take a comprehensive look at this important subject and is destined to become an invaluable resource for the field.

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Book SynopsisThis book traces the fascinating history of how and why ancient Mesoamerican objects have been collected. It begins with the pre-Hispanic antiquities that first entered European collections in the sixteenth century as gifts or seizures, continues through the rise of systematic collecting in Europe and the Americas during the nineteenth and twentieth centuries, and ends in 1940—the start of Europe’s art market collapse at the outbreak of World War II and the coinciding genesis of the large-scale art market for pre-Hispanic antiquities in the United States. Drawing upon archival resources and international museum collections, the contributors analyze the ways shifting patterns of collecting and taste—including how pre-Hispanic objects changed from being viewed as anthropological and scientific curiosities to collectible artworks—have shaped modern academic disciplines as well as public, private, institutional, and nationalistic attitudes toward Mesoamerican art. As many nations across the world demand the return of their cultural patrimony and ancestral heritage, it is essential to examine the historical processes, events, and actors that initially removed so many objects from their countries of origin.Table of ContentsIntroduction: The Art of Ancient Mesoamerica, Collections Forged before 1940 - Mary E. Miller From the Market to the Museum: Nineteenth-Century Circulation, Display, and Scholarly Study of Mesoamerican Artifacts in Italy and Beyond - Davide Domenici “An Idol, a Human Crane, an Incrusted Frilly Blue Mosaic Work Once Made for Magic Oracles”: Curious Things from Mexico in Early German Collections, 1525–1835 - Viola König Ciriaco González Carvajal and Archaeological Collectionism in Late Bourbon New Spain - Leonardo López Luján The Objects of History and the History of Objects - Matthew H. Robb The Chapultepec Castle Chimalli: A Habsburg-Repatriated Aztec Ocelot- Hide Shield - Laura Filloy Nadal and María Olvido Moreno Guzmán Collections and Recollections of “the Greatest of Nineteenth-Century Don Quixotes”: Maximilian I’s Imperial Legacy in the Yale Peabody Museum - Brooke Loukkala Beyond the Bazaar: The Making of the Archaeological Collection at the National Museum of Mexico - Miruna Achim National Guardians and Imperial Contenders: The Development of Mexico’s Archaeological Inspectorate - Adam T. Sellen Lost at the Exposition: The Missing Collection of the First National Museum of Guatemala - Oswaldo Chinchilla Mazariegos Casting for Quirigua: Edgar L. Hewett, the School of American Archaeology and Ancient American Research, 1907–1916 - Khristaan D. Villela Maya on the Mersey: Thomas Gann and Collecting in Early Twentieth- Century Britain - Andrew D. Turner “American Antiquities for an American Museum”: Frederick Church, Luigi Petich, and the Founding Decades of the Metropolitan Museum of Art (1870–1914) - Joanne Pillsbury World Collecting Mesoamerican Art before 1940: A New World of Latin American Antiquities Imperialist Ambitions, Black Gold, and Stone Figures: Collecting Huastec Sculptures before 1940 - Kim N. Richter Branding West Mexico: How Collectors and Dealers Reshaped the Archaeological Discourse - Christopher S. Beekman Changing Geographies of the Mesoamerican Antiquities Market circa 1940: Pierre Matisse and Earl Stendahl - Megan E. O’Neil Afterword: Object Amnesia and the Archive - Megan E. O’Neil

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Book Synopsis'A delightful book ... the perfect companion as you wait for the 8.10 from Hove' Observer After the Beeching cuts of the 1960s, many railways were gradually shut down. Rural communities were isolated and steam trains slowly gave way to diesel and electric traction. But some people were not prepared to let the romance of train travel die. Thanks to their efforts, many lines passed into community ownership and are now booming with new armies of dedicated volunteers. Andrew Martin meets these volunteer enthusiasts, finding out just what it is about preserved railways that makes people so devoted. From the inspiration for Thomas the Tank Engine to John Betjeman's battle against encroaching modernity, Steam Trains Today will take you on a heart-warming journey across Britain from Aviemore to Epping.Trade ReviewPraise for Andrew Martin: 'Compelling ... full of history and railway nuggets -- Michael Binyon * Sunday Times *Informative and witty * Cumbria Life *You do not have to be a trainspotter to enjoy this book. It is social history, a kind of epitaph to a way of travel that seems to be lost, at least in Europe -- Christian Wolmar * Spectator *A delightful book ... This book is the perfect companion as you wait for the 8.10 from Hove -- Nigel Jones * Observer *Martin is entertaining company, alive to the history of his route ... leaves you with renewed confidence that trains can still be the most civilised way to travel * Financial Times *

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Book SynopsisThis new and extensively revised second edition offers an international perspective on archives management, providing authoritative guidance relevant to collections-based repositories and to organizations responsible for managing their own institutional archives. Written in clear language with lively examples, Archives: Principles and practices introduces core archival concepts, explains best-practice approaches and discusses the central activities that archivists need to know to ensure the documentary materials in their charge are cared for as effectively as possible. Topics addressed include: core archival principles and concepts archival history and the evolution of archival theories the nature and diversity of archival materials and institutions the responsibilities and duties of the archivist issues in the management of archival institutions the challenges of balancing access and privacy in archival service best practice principles and strategic approaches to central archival tasks such as acquisition, preservation, reference and access detailed comparison of custodial, fonds-oriented approaches and post-custodial, functional approaches to arrangement and description. Discussion of digital archives is woven throughout the book, including consideration of the changing role of the archivist in the digital age. In recasting her book to address the impact of digital technologies on records and archives, Millar offers us an archival manual for the twenty-first century. This book will be essential reading for archival practitioners, archival studies students and professors, librarians, museum curators, local authorities, small governments, public libraries, community museums, corporations, associations and other agencies with archival responsibility.Trade ReviewAn absolutely indispensable instructional guide and manual, Archives: Principles and Practices is unreservedly recommended for community, academic, governmental, and corporate Library Science collections and supplemental studies lists. * - Midwest Book Review *Archives is divided into theoretical and operational sections. Millar ably tackles topics such as the concept, nature, history, acquisition, preservation, and future of archives. Including a helpful list of resources for further reading and a glossary of archive-related terms, this is a well-rounded book. Infused with the right amount of humor, Millar has authored a highly readable text for those interested in an overview of the world of archives. -- Jim Frutchey * Booklist *'Although differing goals and understandings of the archival profession are in many ways a sign of its vibrancy and strength, books such as Archives: Principles and Practices sound a welcome reminder to examine institutional traditions and to tie those traditions to the bedrock values that should unite all keepers of the cultural record. While the first edition succeeded to some extent, the second edition deserves recognition as one of the best introductory texts available today.'- Nathan Saunders, Associate Director for Library Specialized Collections, University of North Carolina Wilmington, Archival Issues * Archival Issues *Table of ContentsPART I: Principles 1. What are archives? 2. An overview of archival theories and concepts 3. The nature of archives 4. The uses of archives 5. Types of archival institution 6. Archival service as a public trust 7. Balancing access and privacy PART 2: Practices 8. Establishing the archival institution 9. Appraising and acquiring archives 10. Preserving archives 11. Arranging and describing archives 12. Making archives available 13. Providing online access and reference Conclusion To learn more Journal literature National and state institutions Professional associations Additional reading Glossary of terms

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Book SynopsisA landmark anthology on British art history, bringing together overlooked and marginalized perspectives from ''the critical decade''What is Black art? This vital anthology gives voice to a generation of artists of African, Asian and Caribbean heritage who worked within and against British art institutions in the 1980s, including Sonia Boyce, Lubaina Himid, Eddie Chambers and Rasheed Araeen. It brings together artists'' statements, interviews, exhibition catalogue essays and reviews, most of which have been unavailable for many years and resonate profoundly today. Together they interrogate the term ''Black art'' itself, and revive a forgotten dialogue from a time when men and women who had been marginalized made themselves heard within the art world and beyond.

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Book SynopsisMuseums and Interactive Virtual Learning provides informal educators with practical resources that will help them to build dynamic digital engagement experiences within their own cultural organizations.Presenting vignettes from experienced museum educators and end users, as well as scientific data and practical resources, the book highlights the mutual benefits that Interactive Virtual Learning (IVL) programs offer to the museum and those visiting from a distance. Chapters mirror the step-by-step process of developing reputable IVL programs and emphasize how important it is for cultural organizations to encourage cross-departmental collaboration, if they wish to ensure that their programs align with the overall goals of the organization. Providing a thorough overview of the technologies, budget, marketing and staff requirements, the authors offer a realistic depiction of the work involved in building content for digital engagement. Emphasizing the importance of assesTable of ContentsIntroduction; 1. The History & Practice of Interactive Virtual Learning in Museums; 2. The Market and Audience for IVL in Museums; 3. IVL Broadcast Environments Physical and Virtual Setups; 4. IVL Program Creation; 5. Staffing and Scheduling; 6. Marketing IVL Programs; 7. Funding and Budgeting for the IVL Initiative; 8. Connecting to Diverse Audiences; 9. How Virtual Experiences can Impact Learning

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Book SynopsisDuring the late twentieth century, the number of museums in the UK dramatically increased. Typically small and independent, the new museums concentrated on local history, war and transport. This book asks who founded them, how and why.In order to find out more, Fiona Candlin, a professor in museology, and Toby Butler, an expert oral historian, travelled around the UK to meet the individuals, families, community groups and special interest societies who established the museums. The rich oral histories they collected provide a new account of recent museum history – one that weaves together personal experience and social change while putting ordinary people at the heart of cultural production.Combining academic rigour with a lively writing style, Stories from small museums is essential reading for students and museum enthusiasts alike.Trade Review'In the depth of its observations and via beautiful writing, Stories from small museums does an incredible job... The results are a book that will make you feel as if you have found new friends, learned new things, and above all, been reminded of the richness of human existence.'Oral History Society -- .Table of ContentsIntroduction: founding stories, finding stories 1 Transport museums: loving objects and each other 2 War and conflict museums: muttering in the corridors of power 3 Local history museums: at the centre of the universe4 The museum founders: getting on the footplate Conclusions: the micromuseums boomIndex

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Book SynopsisPeople collect to connect with the past, personal and historic, to exercise some small and perfect degree of control over a carefully chosen portion of the world. The Grain of the Clay is Allen S. Weiss's engaging exploration of the meaning and practice of collecting through his relationship with Japanese ceramics. Weiss unfolds their world of materiality and pleasure and the culture and knowledge that extends out of their forms and uses.Japanese ceramics are celebrated for their profound material poetry, especially in relation to the natural world, and they maintain a unique place in the history of the arts and in the lives of those who collect and use them. The Grain of the Clay deepens our appreciation of ceramics while providing a critical meditation on collecting. Weiss examines the vast stylistic range of ceramics, investigating the reasons for viewing, using and collecting them. He explores ceramic objects' relationship with cuisine as an art and as a part of everyday life. Ceramics are increasingly finding their rightful place in museums and Weiss shows how this newfound engagement with finely wrought natural materials might foster an increased ecological sensitivity.The Grain of the Clay will appeal to the collector in every one of us.

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Book SynopsisDisplaying Organisation is a practical, step-by-step guide to planning and implementing exhibitions. Drawing on the author’s in-depth experience of managing a wide range of exhibitions and installations, the book breaks down the process of exhibition creation into easy-to-read sections. Split into distinct sections, Displaying Organisation covers not only key tasks, but also explores the skills and knowledge specific to the museum and heritage sector. Coverage includes: defining and planning your project setting up a project team, assigning roles and responsibilities carrying out a formative evaluation and writing an interpretation plan the foundation skills needed to be a successful project manager – budget, risk and programme management advice and approaches on how to tackle common problems to ensure success. Featuring ‘top tips’ from industry leaders and professional as well as real-life examples and templates this book is a must-read for new and experienced museum and exhibition professionals, as well as students studying to enter the heritage sector. Table of ContentsIntroductionPART 1: DEFINING YOUR PROJECTChapter 1: Getting the Vision RightPART 2: PLANNING THE PROJECTChapter 2: Setting Up the ProjectChapter 3: Interpretation PlanningChapter 4: Bringing Your the Designers on Board and Creating a Concept DesignPART 3: EXECUTING THE PROJECTChapter 5: Scheme and Detailed DesignChapter 6: On SitePART 4: TRANSITIONChapter 7: Preparing for OpeningPART 5: EVALUATING THE PROJECTChapter 8: Project ClosurePART 6: KEY PROJECT MANAGEMENT SKILLSChapter 9: How to Manage a Project ProgrammeChapter 10: Setting and Managing a BudgetChapter 11: Understanding and Managing RisksChapter 12: Summary

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Book Synopsis Heritage processes vary according to cultural, national, geographical, and historical contexts. This volume is unique in that it is dedicated to approaching the analysis of heritage through the concepts of social movements. Adapting the latest developments in the field of social movements, the chapters examine the formation, use and contestation of heritage by various official, non-official and activist players and the spaces where such ongoing negotiations and contestation take place. By bringing social movements into heritage studies, the book advocates a shift of perspective in understanding heritage, one that is no longer bound by (at times arbitrary) divisions such as those assumed between the state and people or between experts and non-experts.Trade Review “Throughout the text, authors marvelously highlight unique cases, backed by compelling evidence, that portray a well-rounded story of heritage activism across countries such as Indonesia, China, Singapore, Nepal, Sri Lanka, and Iran. Libraries with extensive reserves focusing on Asian heritage, culture, and politics should have a copy of this work. – Highly Recommended.” • Choice “In general, this book highlights the need to question generalizing ideas about heritage. It props up the various ways in which we can counter the assimilationist emphasis of most state-sanctioned heritage policies. With an overtly structural approach, the chapters present translational applications to real-world problems.” • International Journal of Asian Studies (IJAS) “This book significantly contributes to our understanding of the complexities of heritage in Asia. It broadens our horizons to look at issues of governance, state-society relations, and the institutional ways memory and material culture are politically negotiated. It reveals heritage as a series of movements, unpacking, elaborating and critiquing what that term means in different social settings. An exciting contribution to the examination of heritage in Asia.” • Tim Winter, University of Western Australia, Professor of Critical Heritage studies, Author of Geocultural Power: China’s Quest to Revive the Silk Roads for the Twenty First Century “The book is a wake-up call for heritage practitioners who still too easily think of the material past as a static and unmediated record of times past. Heritage Movements in Asia reminds us that the heritage expert is only one among numerous players competing to inscribe meaning on the traces of the past embedded in the ground we all live on. As this book vividly illustrates, heritage activism, whether in the form of mass mobilisation or more intimate engagements, is what gives the material past its dynamism.” • Denis Byrne, Author of Counterheritage: Critical Perspectives on Heritage Conservation in Asia “Looking at heritage processes through the lens of social movements, this volume adds a meaningful contribution to the growing literature of critical heritage studies.” • Neel Kamal Chapagain, Director of the Centre for Heritage Management, Ahmedabad University “The manuscript fits well within the framework of collected essays on various aspects of heritage which have made recent appearance on themes such as contested and dissonant heritage, the impact of globalization upon multicultural societies and the increasing role of social media in mobilizing identity.” • Brian J. Shaw, School of Earth & Environment (Retired)Table of Contents List of illustrations Foreword Acknowledgements Introduction: Negotiation, Strategic Action and the Production of Heritage Ali Mozaffari and Tod Jones Chapter 1. Understanding Heritage Activism: Learning from Social Movement Studies Tod Jones, Ali Mozaffari, and James M. Jasper Chapter 2. ‘The Past is Always New’: A Framework for Understanding the Centrality of Social Media to Contemporary Heritage Movements Tod Jones, Transpiosa Riomandha and Hairus Salim Chapter 3. The Exemplary Foreigner: Cultural Heritage Activism in Regional China Gary Sigley Chapter 4. Heritage Activism in Singapore Terence Chong Chapter 5. Riverscape as Biocultural Heritage: A Local Indigenous Social Movement Contests a National Park in Nepal Sudeep Jana Thing Chapter 6. Heritage for Whom? Caste and Contestation Among Sri Lanka’s Dumbara Rata Weavers Aimée Douglas Chapter 7. Heritage Activism and the Media (Framing) in Iran Ali Mozaffari

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Book SynopsisWhat is heritage? When was it invented? What is its place in the world today? What is its place tomorrow? Heritage is all around us: millions belong to its organisations, tens of thousands volunteer for it, and politicians pay lip service to it. When the Victorians began to employ the term in something approaching the modern sense, they applied it to cathedrals, castles, villages and certain landscapes. Since then a multiplicity of heritage labels have arisen, cultural and commercial, tangible and intangible – for just as every era has its notion of heritage, so does every social group, and every generation. In Heritage, James Stourton focuses on elements of our cultural and natural environment that have been deliberately preserved: the British countryside and national parks, buildings such as Blenheim Palace and Tattershall Castle, and the works of art inside them. He charts two heroic periods of conservation – the 1880s and the 1960s – and considers whether threats of wealth, rampant development and complacency are similar in the present day. Heritage is both a story of crisis and profound change in public perception, and one of hope and regeneration.Trade ReviewA fascinating, erudite, engaging — and much needed — book. * Neil MacGregor *Compelling and thought-provoking, this book not only explores how Britain's rich and diverse heritage has been conserved (and in some cases destroyed) in the past, but offers a ray of hope for its future -- Tracy Borman[A] huge, energetic and tightly written tome on the two-and-half-century history of conservation battles in our homeland... A masterful, dynamic and extremely readable survey of one the major issues of our times. Or all times * Literary Review *It not only covers the conservation and protection of our buildings and landscapes, but also the wider cultural aspects * This England *PRAISE FOR JAMES STOURTON: 'Richly detailed, colourful and astute and it moves at a cracking pace... A resplendent biography' The Sunday Times. 'The deft weaving of architectural, social and contemporary history will reveal unexpected pleasures' Art Quarterly. 'This lavishly illustrated compendium suggests that the age of elegance endures' Mail on Sunday. 'Wonderfully learned, gossipy and instructive... The historical research is formidable... Witty, informative and endlessly fascinating' * Literary Review *

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Book SynopsisWritten by an art advisor and former gallerist with an insider’s perspective, this book provides a timely overview of the commercial-gallery sector at a moment of rapid change and expansion. More than any participant in the art market, galleries are seen as mysterious actors with an opaque code of conduct. This book offers a fascinating view of the gallery ecosystem, presenting a systematic diagnosis of key challenges and opportunities facing the sector today. Henry Little discusses the integration of bricks and clicks, addressing the tension between a gallery’s physical premises and its online presence, further asking how the world’s largest galleries have pulled so far ahead both in terms of their physical expansion and their digital offering. In an industry which increasingly rewards consolidation and brand recognition, the book asks how small and mid-tier galleries can hold their own and whether the traditional gallery model may be under threat in an increasingly digital future.Table of ContentsForeword; Acknowledgements; Introduction; 1: Origins and Workings of a Gallery System; 2: The Space: Architecture, Location and Identity; 3: The Digital Promise; 4: Tough at the Top: The Gallery Plus; 5: Consolidation, Collaboration, Continuation; Conclusion; Notes; Further Reading; Index

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Book SynopsisShowcases over a hundred treasures from the collections of the National Museum of Scotland in Edinburgh, from the departments of Scottish History and Archaeology/Art and Design/Science and Technology/Natural Sciences/World Cultures. Table of ContentsForeword Scottish History and Archaeology Art and Design Science and Technology Natural Sciences World Cultures

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Book SynopsisThe significance of Jean-François Lyotard's innovative 1985 exhibition Les Immatériaux and the “curatorial turn” in critical theory.In 1985, the philosopher Jean-François Lyotard curated Les Immatériaux at Centre Georges Pompidou. Though widely misunderstood at the time, the exhibition marked a “curatorial turn” in critical theory. Through its experimental layout and hybrid presentation of objects, technologies, and ideas, this pioneering exploration of virtuality reflected on the exhibition as a medium of communication and anticipated a deeper engagement with immersive and digital space in both art and theory. In Spacing Philosophy, Daniel Birnbaum and Sven-Olov Wallenstein analyze the significance and logic of Lyotard's exhibition while contextualizing it in the history of exhibition practices, the philosophical tradition, and Lyotard's own work on aesthetics and phenomenology. Les Immatériaux can thus be seen as a culmination and materialization of a life's work as well as a primer for the many thought-exhibitions produced in the following decades.The significance of Jean-François Lyotard's innovative 1985 exhibition Les Immatériaux and the “curatorial turn” in critical theory.Forthcoming from the MIT Press

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Book SynopsisIn this book, Michael Murawski explores the work of museums as agents of change through inspiring case studies as well as his own honest, personal experiences as a museum educator, offering effective strategies for museums to enact change in their communities and, most importantly, convert talk into action

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Book SynopsisAn exceptional introduction to European paintings from the Middle Ages to the early 20th century through one of the greatest collections in the world. This richly illustrated and beautifully designed book offers an ideal introduction to European painting from the 13th to the early 20th century. The National Gallery, London, houses one of the finest collections of Western European art in the world. Its extraordinary range includes exceptional paintings from medieval Europe through the early Renaissance and on to Post-Impressionism, including masterpieces by Leonardo, Hans Holbein, Titian, Velázquez, Rembrandt, Turner, Monet, and Van Gogh. This volume showcases more than 250 of the Gallery’s most treasured pictures, providing an opportunity to make connections across this uniquely representative collection. Paintings are accompanied by numerous details, as well as brief and illuminating texts, providing an informative and visually rich survey of hundreds of years of European painting.Published by National Gallery Company/Distributed by Yale University Press

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Book SynopsisOwen Jones (1809–1874), a prolific architect, designer, illustrator and printer, was recognised during his lifetime as one of the most influential contemporary figures in art and design theory. This insightful book, the latest in the V&A Nineteenth-Century Series, explores his relationship with the South Kensington Museum (later the Victoria and Albert Museum), from its inauguration in the 1850s through to his death in 1874. With particular focus on the creation of his celebrated volume The Grammar of Ornament (1856), his decorative scheme for the museum’s so-called ‘Oriental Court’ and the preparation of his lesser-known publication Examples of Chinese Ornament (1867), it offers a fascinating exploration of the identity of the early museum and its imperial context.Table of ContentsDirector’s Foreword; Series Editor’s Foreword; Introduction: From the Great Exhibition to the South Kensington Museum; Chapter 1 - ‘An ever-gushing fountain’: The Grammar of Ornament; Chapter 2 - Applied Principles: The ‘Oriental Court’; Chapter 3 - ‘Suggestive Character’: Examples of Chinese Ornament; Conclusion - ‘The Lawgiver of Ornamental Art’; Notes; Further Reading; Acknowledgements; Index.

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Book SynopsisVisitor experience has been a long neglected aspect of museum practise, receiving less academic attention than areas such as exhibition design or collections care. Despite this, the quality of the visitor experience is the single biggest factor which will influence visitors returning to your museum, or recommending a visit to friends or family.It is also the area of museum practise that has undergone the biggest change in the last twenty years. The image of the aged security warder shouting at children to not touch the exhibits has long gone. Now, museum visitors expect teams of friendly, knowledgeable and passionate people ready to engage them with the museum in an interactive and enthusiastic way. Expectations have never been higher, and as they grow, museums must develop the visitor experiences they deliver in order to meet them.The book discusses the process of delivering a visitor experience from beginning to end; from opening a new visitor offer and building a team through to future planning and strategies for development. It draws from theories from practitioners and academics, arguing that by examining issues such as motivation and relevance, museum operators can start to truly put themselves in their visitors’ shoes and build experiences that are impactful and unforgettable.Table of ContentsSection 1: Creating the Visitor Experience1: Recruiting Your Visitor Experience Team2: Delivering a Great Induction3: Volunteering and the Visitor Experience4: Visitor Journey Mapping5: Ticketing, Capacities and Crowd ManagementSection 2: Managing the Visitor Experience6: Operational Procedures7: Performance Management8: Emotion and the Visitor Experience9: Guided Tours10: Crisis ManagementSection 3: Developing the Visitor Experience11: Advocating for the Visitor Experience12: Measuring the Visitor Experience13: Creating a Visitor Experience Strategy14: Continuing Development and Engagement15: Innovation and Visitor Experience Teams16: Change Management

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Book SynopsisNina Möntmann's timely book extends the decolonisation debate to the institutions of contemporary art. In a thoughtfully articulated text, illustrated with pertinent examples of best practice, she argues that to play a crucial role within increasingly diverse societies museums and galleries of contemporary art have a responsibility to 'decentre' their institutions, removing from their collections, exhibition policies and infrastructures a deeply embedded Euro-centric cultural focus with roots in the history of colonialism. In this, she argues, they can learn from the example both of anthropological museums (such as the Rautenstrauch-Joest-Museum in Cologne), which are engaged in debates about the colonial histories of their collections, about trauma and repair, and of small-scale art spaces (such as La Colonie, Paris, ANO, Institute of Arts and Knowledge, Accra or Savvy Contemporary, Berlin), which have the flexibility, based on informal infrastructures, to initiate different kinds of conversation and collective knowledge production in collaboration with indigenous or local diasporic communities from the Global South. For the first time, this book identifies the influence that anthropological museums and small art spaces can exert on museums of contemporary art to initiate a process of decentring.Table of ContentsForeword; Introduction: Why Decentre Museums, and Why Now?; 1 The Colonial Dilemma of the Modern Museum; 2 Central Theoretical Concepts: From Decolonising to Decentring; 3 Repairing the Anthropological Museum; 4 Decolonial Sensibilities and Decentring Practices of Small-Scale Art Organisations; 5 The Contemporary Art Museum: Between the Anthropological Museum and Small Art Spaces; Epilogue: Decentred Museums as Infrastructures of People; Further Reading; Index

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Book SynopsisBehold the sleazy logic of museums: plunder dressed up as charity, conservation, and care.The idealized Western museum, as typified by the Metropolitan Museum of Art, the British Museum, and the Museum of Natural History, has remained much the same for over a century: a uniquely rarified public space of cool stone, providing an experience of leisure and education for the general public while carefully tending fragile artifacts from distant lands. As questions about representation and ethics have increasingly arisen, these institutions have proclaimed their interest in diversity and responsible conservation, asserting both their adaptability and their immovably essential role in a flourishing and culturally rich society.With Decolonize Museums, Shimrit Lee punctures this fantasy, tracing the essentially colonial origins of the concept of the museum. White Europeans’ atrocities were reimagined through narratives of benign curiosity and abundant respect for the occupied or annihilated culture, and these racist narratives, Lee argues, remain integral to the authority exercised by museums today. Citing pop culture references from Indiana Jones to Black Panther, and highlighting crucial activist campaigns and legal action to redress the harms perpetrated by museums and their proxies, Decolonize Museums argues that we must face a dismantling of these seemingly eternal edifices, and consider what, if anything, might take their place.Trade Review“Shimrit Lee’s provocative and lucid book is part-investigative report where the museum resembles a crime scene and part-polemic that grapples with what it would look like to upend the current ways in which museums are organized and function. Lee makes the convincing argument that museums must fall, and it is time we start taking this imperative seriously.” — Sean Jacobs, founder and editor of Africa Is a Country and author of Media in Postapartheid South Africa“This book takes us through, and far beyond, the museum as a contested space, raising urgent and complex questions about its future. Through her historically insightful and comprehensive take down, Shimrit Lee asks us to reconceptualize the museum in its entirety. She tears down the facade that museums were ever neutral, tracing their role in shaping, and perpetuating, structures of racial capitalism. Lee shows us that decolonizing museums revolves around creating an expansive sense of justice that moves us beyond its walls. Getting it right, she reminds us, means nothing less than liberation for us all.” — Anna Arabindan-Kesson, Assistant Professor of Black Diasporic Art at Princeton University and author of Black Bodies, White Gold "... in-depth research, which interrogates the foundations of museum and curatorial principles, makes Decolonize Museums an abundant read—it should be stocked in every museum gift shop worldwide." —Full-Stop

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Book SynopsisThe Culture Factory: Architecture and the Contemporary Art Museum explores the key battlegrounds in the design of the contemporary-art museum, describing the intersection of art, aesthetics and politics at the highest levels, and the commitment of states, cities and wealthy individuals to the display of art. Global in scope, the book examines key examples from Europe and the Americas to contemporary China. It describes museum building as the projection of political power, but also as a desire to acquire power. So it is a book about ambitious peripheries as much as the traditional centres: Dundee and Bilbao as well as New York and Paris. It is commonplace to assume that the contemporary-art museum has become ever more spectacular, and the place of art ever more subservient within it. This book argues that a tendency to spectacle coexists with another equally powerful tendency, to make art museums that celebrate the artistic process, typically attempting to recreate the feeling of the artist's studio. That tendency is strongly represented in the designs for the Centre Georges Pompidou, completed in 1977, and arguably in the many contemporary art museums which have adapted former industrial buildings. Richard J. Williams's stimulating text includes many historical examples to illustrate how we got to where we are now, from the Centre Pompidou in Paris, to the Guggenheim museums in New York and Bilbao, London’s Tate Modern, Oscar Niemeyer's work in Brazil and beyond, and the 798 Art District in Beijing.Trade Review‘Richard J. Williams's brief but enjoyable The Culture Factory critically explores how art museums went from places of art appreciation to spaces of consumption, media, money, and entertainment over the last fifty years.’ – A Weekly Dose of Architecture Books‘The Culture Factory takes the reader on an engaging tour of many of the most significant examples of museum architecture from the mid-twentieth to the early twenty-first century, to demonstrate its role in the emergence of art as merely “one point on a continuum of consumption” […] in the contemporary experience economy.’ – Burlington ContemporaryTable of ContentsSeries Editor's Foreword; Acknowledgements; Chapter One: How Did we Get Here?; Chapter Two: Making Sense of Industrial Space; Chapter Three: Museums and Architectural Icons; Chapter Four: Landscapes in the Vicinity of Art; Notes; Further Reading; Index

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Book SynopsisThis book critiques modern museologies and curatorial practices that have been complicit in emerging existential crises. It confidently presents novel, more-than-human curatorial visions, methods, frameworks, policies, and museologies radically refiguring the epistemological foundations of curatorial, museological thinking, and practice for a habitable planet.Modern curatorial and museological practices are dominated by modern humanism in which capital growth, social, technological advancement, hubris, extraction, speciest logics, and colonial domination predominate, often without reflection. While history, science, and technology museums and their engagement with non-human worlds have always been ecological as an empirical reality, the human-centred frameworks and forms of human agency that institutions deploy tend to be non-cognizant of this reality. Museum Practices and the Posthumanities: Curating for Planetary Habitability reveals how these practices are ill-equipTrade Review'There is now no doubt regarding the epochal, world-shaping significance of the curatorial practices of late eighteenth and nineteenth century museums. With a matching boldness of vision, Fiona Cameron now calls on museums to play a world-saving role by “curating for planet habitability.” Better still, in identifying the intellectual and institutional challenges this entails, she also shows how these might best be met. A timely manifesto for the contribution museums might make to addressing the crises produced by our relations to the more-than-human worlds that press upon us with increasing force.'Tony Bennett, Emeritus Professor, Social and Cultural Theory, Institute for Culture and Society, Western Sydney University, Australia'This book offers a timely posthumanist provocation for students of, and practitioners in, museums. A fierce critique of humanist museum practices and theories, the book challenges us to take account of emerging practices in museums in the 21st century. Neither what museums are nor what they are becoming remain the same after its reading. With a deep commitment to more-than-human worlds, the book offers theoretical grounding for museum activism in the face of climate and planetary crisis. This book is a testament to Fiona Cameron’s longstanding engagement with difficult topics in museums and provide researchers, practitioners, and students alike with new tools for analyses and action.' Brita Brenna, Professor of Museology, University of Oslo, Norway'Museum Practices and the Posthumanities: Curating for Planetary Habitability is a deeply felt plea and argument for the need to get beyond our human centered approaches for dealing with ecological crisis. Museums, Cameron argues, are institutions that were central to the humanist project that produced the current ecological crisis. They are therefore also central to undoing that project. Doing so involves a radical rethinking of the central categories of thought that underpin modern society. In doing so, this book opens an alternative future by showing us what we need to overcome and how to go about it. Using the concept of viral contagion as both idea and reality, Cameron opens the possibility that we might be able to move beyond our humanist centered perspectives and productively deal with current threats to planetary wellbeing. This book is a magnificent tour de force in how museums might become part of a viral contagion that works to undo our current understandings of our place on this planet.'Andrea Witcomb, Alfred Deakin Professor, Faculty of Arts and Education, Deakin University, Australia'There is now no doubt regarding the epochal, world-shaping significance of the curatorial practices of late eighteenth and nineteenth century museums. With a matching boldness of vision, Fiona Cameron now calls on museums to play a world-saving role by 'curating for planet habitability.' Better still, in identifying the intellectual and institutional challenges this entails, she also shows how these might best be met. A timely manifesto for the contribution museums might make to addressing the crises produced by our relations to the more-than-human worlds that press upon us with increasing force.'Tony Bennett, Emeritus Professor, Social and Cultural Theory, Institute for Culture and Society, Western Sydney University, Australia'This book offers a timely posthumanist provocation for students of, and practitioners in, museums. A fierce critique of humanist museum practices and theories, the book challenges us to take account of emerging practices in museums in the 21st century. Neither what museums are nor what they are becoming remain the same after its reading. With a deep commitment to more-than-human worlds, the book offers theoretical grounding for museum activism in the face of climate and planetary crisis. This book is a testament to Fiona Cameron’s longstanding engagement with difficult topics in museums and provides researchers, practitioners, and students alike with new tools for analyses and action.' Brita Brenna, Professor of Museology, University of Oslo, Norway'Museum Practices and the Posthumanities: Curating for Planetary Habitability is a deeply felt plea and argument for the need to get beyond our human centered approaches for dealing with ecological crisis. Museums, Cameron argues, are institutions that were central to the humanist project that produced the current ecological crisis. They are therefore also central to undoing that project. Doing so involves a radical rethinking of the central categories of thought that underpin modern society. In doing so, this book opens an alternative future by showing us what we need to overcome and how to go about it. Using the concept of viral contagion as both idea and reality, Cameron opens the possibility that we might be able to move beyond our humanist centered perspectives and productively deal with current threats to planetary wellbeing. This book is a magnificent tour de force in how museums might become part of a viral contagion that works to undo our current understandings of our place on this planet.'Andrea Witcomb, Alfred Deakin Professor, Faculty of Arts and Education, Deakin University, AustraliaTable of Contents1. Introduction: Curating for planetary habitability 2. Technospheric heritage: Curating more-than-digital heritages in and for planetary durations 3. Collections and eco-curating human-non-human climates 4. Museums, climate policy frameworks, and the problem of humanist-driven solutions 5. Communitarian design: Eco-curating climate change in attunement 6. Viral museologies: Curating human-species-viral worlds in sympoiesis 7. Curating sustaining practices in and for more-than-human worlds 8. Conclusion: More-than-human museologies

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Book SynopsisDecolonizing Colonial Heritage explores how different agents practice the decolonization of European colonial heritage at European and extra-European locations. Assessing the impact of these practices, the book also explores what a new vision of Europe in the postcolonial present could look like. Including contributions from academics, artists and heritage practitioners, the volume explores decolonial heritage practices in politics, contemporary history, diplomacy, museum practice, the visual arts and self-generated memorial expressions in public spaces. The comparative focus of the chapters includes examples of internal colonization in Europe and extends to former European colonies, among them Shanghai, Cape Town and Rio de Janeiro. Examining practices in a range of different contexts, the book pays particular attention to sub-national actors whose work is opening up new futures through their engagement with decolonial heritage practices in the present. The vTable of ContentsLists of figures; List of contributors; Acknowledgements; Preface; Introduction; Part I: Haunted Worlds: Ghosts of the Colonial Past: Chapter 1: Europe and Its Entangled Colonial Pasts: Europeanizing the ‘Imperial Turn; Chapter 2: 1917, Brexit and Imperial Nostalgia: A Longing for the Future; Chapter 3: Spectres of Cecil Rhodes at the University of Cape Town; Chapter 4: Decolonizing the Narrative of Portuguese Empire: Life Stories of African Presence, Heritage and Memory; Chapter 5: Decolonizing Warsaw: The Multiple Afterlives of ‘Ali’; Part II: Contemporary Heritage Practices: New Agents, Urban Space Events, Intercultural Encounters: (i) Museums and curatorship: Chapter 6: Curating Colonial Heritage in Amsterdam, Warsaw and Shanghai’s Museums: No Single Road to Decolonization; Chapter 7: The Influence of Western Colonial Culture on Shanghai: A Case Study of the ‘Modern Shanghai’ Exhibition at the Shanghai History Museum; Chapter 8: Decolonizing Contemporary Art Exhibitions: Okwui Enwezor (1963–2019), The Turning Point of Curatorship; (ii) Echoes of colonial heritage, visual culture and site-specific art: Chapter 9: Sensitive Memories at a World Heritage Site: Silencing and Resistance at the Valongo Wharf; Chapter 10: Traces of Contempt and Traces of Self-Esteem: Deconstructing our Toxic Colonial Legacy; Chapter 11: Reframing the Colonial in Postcolonial Lisbon: Placemaking and the Aestheticization of Interculturality; Chapter 12: Aesthetics and Colonial Heritage: An Interview with Artists Based in Marseille; Chapter 13: Enslaved Bodies, Entangled Sites and the Memory of Slavery in Cape Town: The Meeting of the Dead and the Living; Part III:Imagining Decolonial Futures: Chapter 14: Decolonial Countervisuality; Chapter 15: New Diplomacy and Decolonial Heritage Practices; Chapter 16: Decolonial Voices, Colonialism and the Limits of European Liberalism: The European Question Revisited; Index.

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Book SynopsisThis is the first book to specifically address the preservation of an increasingly important group of materials. Techniques for processing minerals and rocks in the field and laboratory are outlined as well as the effects of treatments on specimens.Readership: Professional museum staff, curators and conservators, scientists and technicians; Students of mineralogy, private collectors.Trade Review'The quantity of relevant information drawn together about mineral species, their deterioration and recommendations for their care make this book an essential resource for anyone responsible for geological collections.' Barbara Moore, Studies in Conservation, 5/1994 - Studies in Conservation, May 1994 Table of ContentsContents include: The stability of minerals; Conserving light sensitive minerals and gems; Temperature and humidity sensitive mineralogical and petrological specimens; Pyrite; Meteorites; Hazards for the mineral collector, conservator and curator.

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Book SynopsisDrawing on his unique experience at the helm of three major British art institutions, Charles Saumarez Smith traces how art museums across the world have changed over the past eighty years.Trade Review'An original book, and so beautifully written and constructed' - Professor Sir David Cannadine, Dodge Professor of History, Princeton University and President of the British Academy'A wise and insightful tour of our most successful art museums. One couldn’t ask for a better informed or more congenial guide. Highly recommended' - Professor Andrew McClellan, Professor of History of Art and Museum Studies, Tufts University'There are few people as perfectly suited to give an overview of the pre-COVID museum landscape than Charles Saumarez Smith. Respected by the entire museum field, he has directed three major institutions, each with notable success ... Insightful, witty, playful and ironic, who better to guide a reader through the confusing terrain of the past several decades of the ‘museum boom’?' - James Bradburne, Director General, Pinacoteca di Brera and the Biblioteca Nazionale Braidense, and Editor-in-Chief, Museum Management and Curatorship'I love the style, tone and perspective, the personal experience present along the way, and the open mode of thinking and reflecting on what is seen. That is rare in museum literature and gives a special authority and also a thrill to the text' - Professor Mari Lending, Professor of Architectural History and Theory, Oslo School of Architecture and Design'Charles Saumarez Smith is well placed to consider all of the elements that define a contemporary institution, from architecture and curatorial expertise to funding models and the thorny subject of public duty' - The Arts Society'Written with the crisp elegance found in Baedeker’s guides' - The Financial Times'Charles Saumarez Smith is eminently qualified to answer the two main questions underpinning this survey of 42 museums: How have such institutions changed in the past century? And what does the future look like for these cathedrals of culture? Saumarez Smith … brings his experience and insights to this sweeping overview' - The Art Newspaper'Charles Saumarez Smith thoughtfully charts how quickly and definitively museums have moved on from the Cassoubonish attitude to become the public palaces they are now' - Apollo'Saumarez Smith’s case studies demonstrate how museums have changed since the 1930s and why. Understanding this history helps in understanding why museums look like they do now. With that understanding, a richer experience of those museums awaits us' - Studio International'Remarkable and provocatively thoughtful … The diversity is astounding … For the gallery visitor, this is an essential read, which sharpens our awareness of the absorbing complexity of the museum experience. The reader’s experience is further enhanced by the book’s exemplary design, and very well-chosen images of buildings, their interiors, and of individual architects, curators and patrons' - Artlyst'In his informed and engaging prose, Smith brings out the personality unique to each museum. This is complemented by a diverse selection of images … All these play their part in a book that is, above all else, shockingly good-looking' - The Arts Desk''Saumarez Smith is good on the often antagonistic relationship between architects and directors, and the difficulties of reconciling fantastical plans with a building that actually functions ... Every entry has its nuggets ... [a] clever, persuasive book' - Laura Freeman, Literary Review'How best to use this book? Perhaps simply to absorb the insider knowledge of an art historian, curator and former museum director who opens up the private conversations that have shaped the public spaces in which we experience art' - Art Quarterly'A fascinating look at how museums, their mission and their vision, have evolved over the past half-century… This superb and eminently readable book takes us along a roller coaster of ups and downs, experienced by museums as they lose, regain, refashion their intellectual confidence, their belief in or rejection of, the notion of a set of universal values, alternately giving prompts to, or taking their cues from, the public' - Blue Guides'Saumarez Smith headed the National Gallery, the National Portrait Gallery and the Royal Academy, and there seems hardly a museum worldwide that he hasn’t visited. As architectural historian and cultural commentator, he is compelling, charming, tolerant and wise on why museums matter, how their role is changing, and what that reveals about broader social and political transformation' - Financial TimesTable of ContentsIntroduction • 1. The Pre-War Museum • 2. The Modern Museum • 3. The Post-Modern Museum • 4. Museums for the New Millennium • 5. The Museum Re-invented • Conclusion

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Book SynopsisViewing Art with Babies demonstrates how to facilitate quality art viewing experiences with babies from as young as 2 months old. Such experiences can help to nurture early literacy and receptive language skills, sensory stimulation, and early brain development.Based on the author's research with babies in New Zealand, Australia, Romania, England, and the U.S., the book provides the reader with information about early brain, vision, sensory and language development, and the aesthetic preferences of babies. Danko-McGhee provides details about the type of art that babies like, how to display art in the learning environment, and how to interact with a baby when viewing art. Case studies of international museums, national museums, and community agencies that have had success with engaging babies in art viewing experiences have been included in the book as a way of demonstrating how theory and research can be successfully put into practice.Viewing Art with BabiTable of ContentsIntroduction: Art and Babies; Chapter 1 Early Brain and Sensory Development; Chapter 2 Visual Literacy, Aesthetic Responses, and the Aesthetic Preferences of Babies; Chapter 3 Looking at Art with Babies and Building Early Receptive Language; Chapter 4 Setting Up an Environment for Babies to View Art; Chapter 5 Successful Community Art Programmes for Babies; Chapter 6 Successful Baby Tours at Art Museums; Chapter 7 Conclusion: Future Discoveries - Babies and Art.

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Book SynopsisMuseums and Societal Collapse explores the implications of societal collapse from a multidisciplinary perspective and considers the potential museums have to contribute to the reimagining and transitioning of a new society with the threat of collapse.Arguing that societal collapse is underway, but that total collapse is not inevitable, Janes maintains that museums are well-positioned to mitigate and adapt to the disruptions of societal collapse. As institutions of the commons, belonging to and affecting the public at large, he contends that museums are both responsible and capable of contributing to the durability and well-being of individuals, families, and communities, and enhancing societal resilience in the face of critical issues confronting our species. Within the pages of this groundbreaking book, Janes demonstrates how museums and their staff, as key civic resources with ethical responsibilities, can examine the meaning and value of their work, how that work Trade Review"When people think of museums, many imagine dusty repositories for the art and artifacts of bygone civilizations. Not so Robert Janes. To Janes, museums should represent the whole of time's arrow—past is prologue to the present which serves as harbinger to the future. Janes argues that museums can (re)organize, using what we know today to nudge humanity away from the black holes of despair toward the brightest stars in the constellation of future possibilities."William Rees, University of British Columbia"Janes is an unflinching truth teller who eschews pressures to make museums more like corporations and retains his brave, visionary, and practical view of museums. He explores how we can use these vital sites to grapple with the existential threats of the Anthropocene. Museums and Societal Collapse is challenging. But it also illuminates useful work in museums as a path forward."Elena Gonzales, Chicago History Museum"Why should museum practitioners care about societal collapse? And, why should readers aware of global survival-level crises like climate change care about museums? Humanity’s rich cultural legacy is endangered by the converging predicaments of the 21st century, and it is largely up to museums to ensure that future generations have access to that legacy. Robert Janes lucidly and bravely explores how museums can aid cultural survival in a time of polycrisis."Richard Heinberg, Post Carbon Institute"All of Janes' books are milestones in thinking about the museum, its role, and its evolution. Museums and Societal Collapse addresses for the first time, abruptly, a topic related to the possible vanishing of our civilization. Global warming, resource depletion, increasing inequalities and conflicts provide the breeding ground for a radical world’s metamorphosis. The role that museums can play in mitigating the effects of these transformations is at the heart of the author's concerns: a book that must be read."François Mairesse, Université Sorbonne nouvelle"Robert R. Janes has been challenging museums—and their workers—for decades to improve their internal cultures in order to better serve communities. Museums and Societal Collapse expands Janes’s scope and challenge to what role museums must play in a world whose accelerating collapse may render museums obsolete. Museum workers who are ready to serve communities in regenerating civil society, and to move past hope to action, must read this book."Robert J Weisberg, The Metropolitan Museum of Art, and creator of the Museum Human blog "I feel obligated to write this book’ writes Robert Janes - and it is one for which there is absolute need. Multiple crises are converging and just as museums have not faced up to 'climate grief', and 'societal breakdown', neither has the museum literature. Janes challenges the 'immorality of inaction' in museums, while weaving in personal experience and reflection. He challenges all of us in museums to examine our personal values and those of our institutions. This is a very necessary and urgent wake-up call by a globally respected museum leader and elder."Bernadette Lynch, Founder of the Solidarity in Action Network, museum practitioner and scholarTable of ContentsIntroduction 1. Harbingers of collapse 2. The anatomy of collapse 3. The myth of sustainability 4. Why museums? 5. The museum as lifeboat 6. Afterthoughts 7. Coda

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Book SynopsisToxic Heritage addresses the heritage value of contamination and toxic sites and provides the first in-depth examination of toxic heritage as a global issue.Bringing together case studies, visual essays, and substantive chapters written by leading scholars from around the world, the volume provides a critical framing of the globally expanding field of toxic heritage. Authors from a variety of disciplinary perspectives and methodologies examine toxic heritage as both a material phenomenon and a concept. Organized into five thematic sections, the book explores the meaning and significance of toxic heritage, politics, narratives, affected communities, and activist approaches and interventions. It identifies critical issues and highlights areas of emerging research on the intersections of environmental harm with formal and informal memory practices, while also highlighting the resilience, advocacy, and creativity of communities, scholars, and heritage professionals in reTable of ContentsForeword; Introduction: Toxic Heritage: An Introduction. Section 1: Introduction - Section 1 "Framing Toxicity": Chapter 1: Toxic legacies of slickens in California: a mobile heritage of hydraulic mining debris; Visual Essay 1: Visual Essay: Extraction old and new: toxic legacies of mining the desert in southwestern Africa; Chapter 2: Of blaes and bings: the (non)toxic heritage of the West Lothian oil shale industry; Chapter 3: When Toxic Heritage is Forever: Confronting PFAS Contamination and Toxicity as Lived Experience; Chapter 4: Plasticity and Time: Using the Stress-Strain Curve as a Framework for Investigating the Wicked Problems of Marine Pollution and Climate Change. Section 2: Introduction - Section 2 "The Politics of Toxic Heritage": Chapter 5: Heritage-led Regeneration and the Sanitisation of Memory in the Lower Swansea Valley; Case Study 1: Ghost Wrecks of the Anthropocene: An Enduring Toxic Legacy of the Pacific War; Chapter 6: Military Legacies and Indigenous Heritage in Canada’s Newest National Park Reserve; Case Study 2: Trash Fires as Toxic Heritage in Palestine; Chapter 7: Politics of Mining: Toxic Heritage in the Atacama Desert; Case Study 3: Sticky, Stinky, Squalid: The toxic leachate of households’ waste in an area of urban decay in Tehran (Iran); Chapter 8: Toxic Landmarking and Technoprecarious Heritage in Ghana. Section 3: Section 3 Affected Communities, Activism, and Agency – Introduction: Chapter 9: Reluctant Returns: Repatriating a Poisoned Past; Case Study 4: Public Memory of Toxic Displacement: Heavy Metal Contamination and Superfund Remediation in Federally Assisted Housing Communities; Visual Essay 2: Translating and Transforming Toxicity: Moving Between Ethnography and Graphic Art; Chapter 10: Preservation by demolition: Toxic heritage in contemporary China; Chapter 11: Unwanted Legacy and Memory of the Milieu: Toxic Materials, Remediation, Habituation (Estarreja, Portugal); Chapter 12: Environmental and Embodied Agro-toxic heritage in Rural Uruguay: From Recognition to Transition to Sustainability among Dairy Farmers. Section 4 Introduction - Section 4 "Narratives of Toxic Heritage": Chapter 13: Dirty Laundry: the Toxic Heritage of Dry Cleaning in Indianapolis, Indiana; Case Study 5: When Cleaning up the Battlefields from Time of War has Polluted Soils in Time of Peace: A Silent but Visible Toxic Legacy from the Great War; Chapter 14: Toxic City: Industrial Residues, the Body and Community Activism as Heritage Practice in Glasgow; Case Study 6: Rubber as (toxic) heritage: the Amazonian rubber case; Case Study 7: Three memory frameworks on Chernobyl; Chapter 15: The Toxic Anthracite: Toxic Heritage. Section 5: Introduction - Section 5 "Approaches and Interventions": Chapter 16: Environmental Justice Tours: Transformative Narratives of Struggle, Solidarity and Activism; Visual Essay 3: Getting the Lead Out, One Community at a Time; Case Study 8: Climate Museum UK: Practices in Response to the Traumasphere; Chapter 17: Toxic Heritage and Reparations: Activating Memory for Climate Justice; Case Study 9: Case Study: From Leftovers To Takeover: Latent Insurgency Amidst the System’s Remnants; Visual Essay 4: Taking care of nuclear waste; Chapter 18: Toxic and Wasted: Artists Thinking About How to Engage With Material Futures; Conclusion: Why Toxic Heritage Matters.

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Book SynopsisSlow Looking provides a robust argument for the importance of slow looking in learning environments both general and specialized, formal and informal, and its connection to major concepts in teaching, learning, and knowledge. A museum-originated practice increasingly seen as holding wide educational benefits, slow looking contends that patient, immersive attention to content can produce active cognitive opportunities for meaning-making and critical thinking that may not be possible though high-speed means of information delivery. Addressing the multi-disciplinary applications of this purposeful behavioral practice, this book draws examples from the visual arts, literature, science, and everyday life, using original, real-world scenarios to illustrate the complexities and rewards of slow looking. Trade Review"All too often, we traverse our rich and wondrous world like stones skipping across a pond. Slow Looking, Shari Tishman's brilliantly curated exploration of thoughtful attention to the things around us, celebrates the importance of sensory lingering in art, science, and our everyday lives."—David Perkins, Professor Emeritus, Harvard Graduate School of Education, USA"Shari Tishman has been at the center of Harvard Project Zero's important research in arts-based learning for many years. She has also worked directly with visual arts educators in both school and museum settings to develop practical applications that serve a diverse range of learners. Slow Looking presents relevant and important insights distilled from deep experience and thoughtful reflection. Tishman’s lively and direct prose argues for the value of slow looking through compelling examples that will make this book an inspiring and useful catalyst for those of us committed to living more slowly, seeing more deeply, and learning about our complex world."—Ray Williams, Director of Education and Academic Affairs at the Blanton Museum of Art, University of Texas at Austin, USA"Slow Looking strikes the perfect balance between practicality and philosophical depth. Tishman writes fluidly and moves easily among descriptions of classroom technique, phenomenological analysis of observation, and the intellectual history of student-centered education. Slow Looking will be a continual source of inspiration in my own teaching and scholarship – it is highly recommended."—Joshua Canzona, Reflective Teaching, 2017"[Tishman] defines ‘slow looking’ as a mode of learning, a means of gaining knowledge through observation. . . . The goal is to move beyond the first impression toward a more immersive experience [that] benefits our cognitive activities of critical and creative thinking."—Clare Kunny, caa.reviews, College Art Association"A rewarding classroom practice . . . Slow Looking strikes the perfect balance between practicality and philosophical depth. Tishman writes fluidly and moves easily among descriptions of classroom technique, phenomenological analysis of observation, and the intellectual history of student-centered education."—Joshua Canzona, Wabash Center"Using an interdisciplinary lens, this engaging and informative book explores the historical foundations of slow looking, its application in various fields, and strategies for educators on how best to implement slow looking in settings where meaningful learning is the priority. The book offers rich insights into the practice of slow looking in diverse contexts."—Servet Altan, LSE Review of BooksTable of ContentsAcknowledgmentsChapter 1 Introduction: Slow MattersChapter 2 Strategies for LookingChapter 3 Slow in PracticeChapter 4 Looking and DescribingChapter 5 Look for Yourself…and Visit a Museum!Chapter 6 Looking Goes to SchoolChapter 7 Science Learns to LookChapter 8 Slow Looking and ComplexityChapter 9 Conclusion: Thinking Through SlowIndex

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Book SynopsisCultural Heritage and the Future brings together an international group of scholars and experts to consider the relationship between cultural heritage and the future.Drawing on case studies from around the world, the contributing authors insist that cultural heritage and the future are intimately linked and that the development of futures thinking should be a priority for academics, students and those working in the wider professional heritage sector. Until recently, the future has never attracted substantial research and debate within heritage studies and heritage management, and this book addresses this gap by offering a balance of theoretical and empirical content that will stimulate multidisciplinary debate in the burgeoning field of critical heritage studies.Cultural Heritage and the Future questions the role of heritage in future making and will be of great relevance to academics and students working in the fields of museum and heritage Trade Review"This book is … about the various ways to engage with cultural heritage in the light of ‘futures thinking’. Through its carefully selected mix of theoretical and practical case studies, it will undoubtedly become a flagship text for anyone interested in exploring the interconnections between cultural heritage and the future." - Antiquity"The book is illuminating and provides a valuable compendium and a fascinating timeline for the last decade of thinking." - News in Conservation, International Institute for Conservation of Historic and Artistic WorksTable of ContentsPreface; 1. Introduction: Cultural heritage as a futuristic field; Section 1: The future in heritage studies and heritage management; 2. Heritage practices as future-making practices; 3. Heritage, thrift, and our children’s children; 4. Perceptions of the future in preservation strategies (Or: Why Eyssl von Eysselsberg’s body is no longer taken across the lake); 5. The future and management of ICH in China from a legal perspective; Section 2: The future in cultural heritage; 6. Decolonizing the future. Folk art environments and the temporality of heritage; 7. The spectre of non-completion: An archaeological approach to half-built buildings; 8. An archaeology of Cold War armageddonism through the lens of Scientology; 9. Future visions and the heritage of space: Nostalgia for infinity; Section 3: Re-thinking heritage futures; 10. What lies ahead? Nuclear waste as cultural heritage of the future; 11. The future in the past, the past in the future; 12. Radioactive heritage of the future: A legacy of risk; Section 4: Heritage and future-making; 13. Sustainability, intergenerational equity, and pluralism: Can heritage conservation create alternative futures?; 14. Palliative curation and future persistence: Life after death; 15. The future, atemporality, and heritage: "Yesterday´s tomorrow is not today"; 16. Heritages of futures thinking: Strategic foresight and critical futures; 17. Final reflections: The future of heritage

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Book SynopsisIllustration and Heritage explores the re-materialisation of absent, lost, and invisible stories through illustrative practice and examines the potential role of contemporary illustration in cultural heritage. Heritage is a process' that is active and takes place in the present. In the heritage industry, there are opposing discourses and positions, and illustrators are a critical voice within the field.Grounding discussions in concepts fundamental to the illustrator, the book examines how the historical voice might be found' or reconstructed. Rachel Emily Taylor uses her own work and other illustrators' projects as case studies to explore how the making of creative work through the exploration of archival material and experimental fieldwork is an important investigative process and engagement strategy when working with heritage. What are the similar functions of heritage and illustration? How can an illustrator give voice' to a historical person? How can an Trade ReviewThis insightful book shines a light on one of the important roles of illustration. It illuminates key ideas on how the illustrator's voice can make our past more human and heritage as a deep source of inspiration for illustration. * Nanette Hoogslag, Anglia Ruskin University, UK *Table of ContentsIntroduction 1. Illustration and Heritage 2. Illustration and Historical Voices 3. Illustration and Historical Collections 4. Illustration and Historical Landscapes Conclusion

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Book SynopsisThe tools and techniques of archaeology were designed for the study of past people and societies, but for more than a century a growing number of archaeologists have turned these same tools to the study of the modern world. This book offers an overview of these pioneering practices through a specifically pedagogical lens, fostering an appreciation of the diversity and distinctiveness of contemporary archaeology and providing an evidence base for course proposals and curriculum design.Although research in the field is well established and vibrant, making critical contributions to wider debates around issues such as homelessness, migration and the refugee crisis, and legacies of war and conflict, the teaching of contemporary archaeology in universities has until recently been relatively limited in comparison. This selection of carefully curated case studies from as far afield as Orkney, Iran and the USA is intended as a resource and an inspiration for both teachers and studentTable of ContentsList of Figures List of Contributors Introduction: Pedagogy in Contemporary Archaeology (Gabriel Moshenska, University College London, UK) I. Course and Curriculum Development 1. Contemporary Art and Archaeology: Interdisciplinary Pedagogy and Practice in the Digital University (Antonia Thomas, University of the Highlands and Islands, UK) 2. Documenting Wesley College: A Mildly Anarchist Teaching Encounter (William Caraher, University of North Dakota, USA) 3. Teaching Contemporary Archaeology: The Durham Experience (David Petts, Durham University, UK) II. Pedagogical Practices 4. The Henge with a Postcode: The Benefits of Contemporary Archaeology Fieldtrips (Kenneth Brophy, University of Glasgow, UK) 5. Draw your Phone: The Cellphone as an Intimate, Everyday Artefact (Colleen Morgan, University of York, UK) 6. Walking and Talking Around the Bombsites of Bloomsbury (Gabriel Moshenska, University College London, UK) III. Working with Communities 7. Over, Under, and In Between: Collaborative Learning from Landscapes using Contemporary Archaeology (April M. Beisaw, Vassar College, USA) 8. Teaching and Learning Difficult Pasts of the Twentieth Century through Community Archaeology (Tiina Äikäs, Oula Seitsonen, Tuuli Matila, and Vesa-Pekka Herva, University of Oulu, Finland) 9. Beyond Zinjanthropus: Historical Archaeology Pedagogy in Tanzania (Nancy Rushohora, University of Dar es Salaam, Tanzania) IV. The Personal and the Political 10. ‘We Want School!’ Teaching and Learning Contemporary Archaeology with Displaced People in Anarchist-Adjacent Spaces in Athens, Greece (Rachael Kiddey, University of Cambridge, UK) 11. Education is Life: Collective Experiences of Practicing the Archaeology of the Contemporary Past in a Conservative Atmosphere (Maryam Dezhamkhooy, Heidelberg University, Germany and Leila Papoli-Yazdi, Malmö University, Sweden) 12. Archaeologies of the Contemporary World – A Chancy Business? (Greg Bailey, Independent Researcher, UK) Index

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Book SynopsisUnderstanding the visitor experience provides essential insights into how museums can affect people’s lives. Personal drives, group identity, decision-making and meaning-making strategies, memory, and leisure preferences, all enter into the visitor experience, which extends far beyond the walls of the institution both in time and space. Drawing upon a career in studying museum visitors, renowned researcher John Falk attempts to create a predictive model of visitor experience, one that can help museum professionals better meet those visitors’ needs. He identifies five key types of visitors who attend museums and then defines the internal processes that drive them there over and over again. Through an understanding of how museums shape and reflect their personal and group identity, Falk is able to show not only how museums can increase their attendance and revenue, but also their meaningfulness to their constituents.Table of ContentsPart I - Theory, 1. Introduction: Museums and Their Visitors, 2. The Museum, 3. The Visitor, 4. The Visit, 5. Satisfaction, 6. Memories, 7. The Museum Visitor Experience Model, Part II - Practice, 8. Theory to Practice, 9. Attracting and Building Audiences, 10. Making Museums Work for Visitors, 11. Institutional Value and Accountability, Notes, References, Index, About the Author

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Book SynopsisAuthor David Saunders, former keeper of conservation and scientific research at the British Museum, explores how to balance the conflicting goals of visibility and preservation under a variety of conditions. Beginning with the science of how light, color, and vision function and interact, he proceeds to offer detailed studies of the impact of light on a wide range of objects, including paintings, manuscripts, textiles, bone, leather, and plastics. With analyses of the effects of light on visibility and deterioration, Museum Lighting provides practical information to assist curators, conservators, and other museum professionals in making critical decisions about the display and preservation of objects in their collections.

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