Museology and heritage studies Books

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 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 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 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 SynopsisOnly 16% of the most recent Venice Biennale artists were female. A mere 14% of MoMA's 2016 display is by non-white artists. Only one third of artists represented by US galleries are female, but over two-thirds of the enrolment in art and art-history programmes is young women The fight for gender and race equality in the art world is far from over. Indeed, the more closely one examines the numbers, the more glaring it becomes that white, Euro-American, heterosexual, privileged and, above all, male artists continue to dominate the art world. Arranged in thematic sections focusing on feminism, race and sexuality, this book examines and illustrates pioneering examples of exhibitions that have broken down boundaries and demonstrated that new approaches are possible, from Nochlin's Women Artists' at the LACMA in the mid-1970s to Martin's Carambolages' in 2016 at the Grand Palais in Paris. By exposing both the disparities and inclusive solutions, the author addresses the urgent need in the contemporary art world for curatorial strategies that provide alternatives to exclusionary models of collecting and display. In so doing, she provides an invaluable source of information for current thinkers and, in a world dominated by visual culture, a vital source of inspiration for today's ever-expanding new generation of curators.Trade Review'A fascinating, well-told account … the art world would do well to heed the arguments of this provocative and informative book' - Art QuarterlyTable of ContentsForeword • Preface • 1. What is Curatorial Activism? • 2. Resisting Masculinism and Sexism • 3. Tackling White Privilege and Western-Centrism • 4. Challenging Heterocentrism and Lesbo-Homophobia • 5. A Call to Arms: Strategies for Change

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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 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 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 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 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 must-have for anyone interested in working with straw and an astonishing contribution to the preservation of this endangered craft.' Jay Blades MBE, Co-Chair of Heritage Crafts An engaging makers’ guide to the history and craft of straw plaiting, brimming with helpful step-by-step diagrams. Straw plaiting has been used to make accessories from hats and baskets to handbags, trimmings and homewares around the world for centuries. Once employing tens of thousands of people in the UK alone, the craft is now listed as Critically Endangered on Heritage Crafts’ Red List. This book aims to change that, drawing on more than 50 previously unpublished patterns and techniques from around the world that will help you to unlock the history and preserve the skills of straw plaiting. For each pattern, follow the step-by-step diagrams and instructions and discover how they were developed whilst learning about materials, tools and preparation. Once familiar with the plaiting techniques – using straw as well as other materials – you will be able to develop your own skills, possibly blending in recycled materials, which are increasingly being used to produce beautiful and unique pieces.Trade ReviewThis impressive and thoroughly researched book traces the journey of straw from farmer’s field to finished hat. Veronica Main has covered the subject in depth with good illustrations, and the clearly drawn patterns show the many ways straw can be plaited ... we should now make more use of it as a renewable resource. -- Alan and Vanessa Hopkins, The School of Historic DressA must-have for anyone interested in working with straw and an astonishing contribution to the preservation of this endangered craft. -- Jay Blades MBE, Co-Chair of Heritage CraftsStraw plaiting has all but disappeared from the public consciousness; what was once so common, it touched the lives of everyone everywhere... Veronica Main's exhaustive research may ignite a timely renaissance of interest in straw as we search for sustainable alternatives to plastic. -- Polly Leonard * Selvedge Magazine *This is a book that will fascinate and enthral both researchers and makers alike. * The Braid Society *From simple patterns through to elaborate work for hats and baskets, this is equally enjoyable as a record of a rare craft, or as inspiration to take up straw plaiting and help take this craft off the endangered list. * Family Tree *Straw Plaiting: Heritage Techniques for Hats, Trimmings, Bags and Baskets is sure to become the go-to publication for anyone interested in learning or studying this time-honoured craft. * HATalk Magazine *Table of ContentsAcknowledgements Foreword by Marian Nichols Introduction Terminology 1. Straw Plaiting in Great Britain 2. Straw Plaiting in the Atlantic Islands and North America 3. Straw Plaiting in Europe 4. The Decline of the Straw Plaiting Industry 5. Plaiting Materials 6. Straw Preparation 7. Tools of the Trade 8. Development of Plait Patterns 9. Preparing to Plait 10. Plait Instructions Three, Five and Seven End Plaits Nine and Eleven Ends Basic Plaits Rustic Plaits Piping and Porcupine Purl and Moss Batwing or Vandyke Feather and Wisp Diamond and Wave Brilliant Trimmings Endnotes Conversion Tables Glossary Bibliography Picture Credits Index

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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 SynopsisAlmost nine million people from all over the world flock to the Louvre in Paris every year to see its incomparable art collection. Yet few, if any, are aware of the remarkable history of that location and of the buildings themselves, and how they chronicle the history of Paris itself-a fascinating story that historian James Gardner elegantly tells for the first time.Before the Louvre was a museum, it was a palace, and before that a fortress. But much earlier still, it was a place called le Louvre for reasons unknown. People had inhabited that spot for more than 6,000 years before King Philippe Auguste of France constructed a fortress there in 1191 to protect against English soldiers stationed in Normandy. Two centuries later, Charles V converted the fortress to one of his numerous royal palaces. After Louis XIV moved the royal residence to Versailles in 1682, the Louvre inherited the royal art collection, which then included the Mona Lisa, given to Francis by Leonardo da Vinci; just over a century later, during the French Revolution, the National Assembly established the Louvre as a museum to display the nation's treasures. Subsequent leaders of France, from Napoleon to Napoleon III to Francois Mitterand, put their stamp on the museum, expanding it into the extraordinary institution it has become.With expert detail and keen admiration, James Gardner links the Louvre's past to its glorious present, and vibrantly portrays how it has been a witness to French history - through the Napoleonic era, the Commune, two World Wars, to this day - and home to a legendary collection whose diverse origins and back stories create a spectacular narrative that rivals the building's legendary stature.Trade ReviewIn his fluent and fact-rich account of the building's many stages James Gardner...deftly combines the niceties of bricks, mortar and changing architectural styles with telling anecdotes and the broader historical context...with his eye for colour as well as architectural detail * Sunday Times *In his courageous and erudite new book, critic James Gardner is bold to take in, and take on, what few mortals have the chance or the stamina to do. Think of reading this book as the full experience you are temporarily denied today, or may never have had the energy to undertake. . .Open the book and enjoy the visit. * Washington Post *Mysterious in effect, the Louvre is delightfully mysterious in history, too, as James Gardner shows in The Louvre . . . Gardner's muscular, impatiently expert prose recalls Robert Hughes in his city books. -- Adam Gopnik * The New Yorker *I hadn't realized just how mythically resonant a museum could be until I read James Gardner's eloquent encomium to the Louvre . . . This history is told with all the great verve, insight, and eye for detail that Mr. Gardner's criticism is noted for . . . [His] passion also invites us to share his affection - and to plan a visit. * Wall Street Journal *With its fast-moving and rich narrative, this truly excellent book needed to be written: the fascinating and turbulent story of the Louvre as a royal palace has been largely eclipsed by its much shorter and more famous life as a museum. Here both parts of its long history have been splendidly recounted. -- Philippe de Montebello, Director Emeritus, The Metropolitan Museum of ArtThe perfect balance of architectural and social history, full of fascinating and unexpected detail, and salted with delightfully sly wit. -- Jacky Colliss Harvey, author of RED: A Natural History of the RedheadJames Gardner makes the walls talk. He traces the many metamorphoses of the Louvre, revealing how from its humble origins as a fortress it has come to occupy the heart of Paris and the centre of French - and indeed world - culture. His remarkable achievement is to show us how the building is every bit as spectacular and as fascinating as the treasures it holds. -- Ross King, author of BRUNELLESCHI'S DOMETable of Contents1: The Origins of the Louvre 2: The Louvre in the Renaissance 3: The Louvre of the Early Bourbons 4: The Louvre and the Sun King 5: The Louvre Abandoned 6: The Louvre and Napoleon 7: The Louvre under the Restoration 8: The Nouveau Louvre of Napoleon III 9: The Louvre in Modern Times 10: The Creation of the Contemporary Louvre

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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 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 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 SynopsisThe building of the Victoria and Albert Museum, begun in 1857, is the most elaborately designed and decorated museum in Britain. This book is the first to consider the V&A as a work of art in itself, presenting drawings, watercolours and historic photographs relating to the Museum's 19th-century interiors. Much of this visual material is previously unpublished and is outside the canon of Victorian art and design. The V&A's first Director, Henry Cole, conceived the Museum's building as a showcase for leading Victorian artists to design and decorate. This book reveals for the first time the ways in which Cole's expressed policy to 'assemble a splendid collection of objects representing the application of Fine Arts to manufacture' was applied to the fabric of the building, as he engaged leading painters such as Frederic Leighton , G.F. Watts and Edward Burne-Jones, as well as specialists in decoration such as Owen Jones and Morris and Company, to decorate and design for a building raised by engineers using innovatory materials and techniques.It represents a fascinating, untold chapter in the history of British 19th-century art, design, architecture and museums, and an essential backdrop to understanding the evolution of the Museum's early collections and identity.Table of ContentsContents: Part One: Introduction: 1 Building the Museum; 2 The Museum as a Work of Art; 3 A Summary Timeline; Part Two: Designs and Decoration: A Parkland Setting; The South Kensington Museum (garden facades); The Refreshment Rooms; The Ceramic Stairs and Galleries; The Lecture Theatre; The Paintings Galleries and the North Staircase; The North Court; The South Courts; The 'Kensington Valhalla'; The Oriental Courts; The Prince Consort's Gallery; The National Competition Gallery; Frederic Leighton's Frescoes; The East Staircase; The National Art Library; The Cast Courts; The Grand Entrance and the Long Gallery; The Pantheon of British Art; The Henry Cole Wing; Exhibition Road; Further Reading; Endnotes; Acknowledgements; Index

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Book SynopsisA chronological history of art that assembles chef d’oeuvres from all artistic disciplines around the globe and throughout the ages. The Louvre Abu Dhabi, which has aroused great curiosity since plans were first announced for the groundbreaking museum in 2007, will unveil a selected part of its nascent collection in April 2013. While the building that will house the museum collection, designed by architect Jean Nouvel, is already well- known, this book —the first to be dedicated to the museum’s collection — allows the reader to discover the universal spirit that permeates and incarnates the birth of this new museum. The growing collection, presented here for the first time, best captures and expresses the essence and spirit of the museum itself. These 300 works, reproduced in exceptionally high-quality photographs commissioned for the publication, open a dialogue between the diverse world cultures and their artistic expressions, from the most antiquated to the ultra contemporary, ranging from archaeological treasures to groundbreaking works of contemporary art. All artistic traditions are present, from Ancient Egypt and Greco-Roman art to Islamic art and grand Asian statuary, from works by Bellini and Murillo to Manet or Mondrian, and masterpieces from the European Renaissance or an Art Deco ensemble, to Indian miniatures or paintings by Yan Pei-Ming. The works are analyzed in their cultural context, highlighting their particularities, while simultaneously placing them at the crossroads of the great cultures that comprise the museum’s collections.

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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 SynopsisA reformatted miniature edition of one of the Museum's bestselling gift books

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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 SynopsisA concise history of one of the world's greatest and most comprehensive museum collections, from its founding in 1753. A product and symbol of the 18th-century Enlightenment, the British Museum is as iconic an expression of that cultural tendency as Johnson's Dictionary, the French Encyclopedie and Linnaean plant classification. Its collections embody the raw material of empiricism – the bringing together of things to enable the widest intellectual experiment to take place. James Hamilton explores the establishment of the Museum in the 1750s (from the bequest to the nation of the collections of Sir Hans Sloane); the chosen site of its location; the cultural context in which it came into being; the subsequent development, expansion and diversification of the Museum, both as a collection and as a building, from the early 19th to the 21st century; the controversy occasioned by some of its acquisitions; and the legacy and influence of the Museum nationally and globally.Trade ReviewA sparkling new history of the museum's first two-and-a-half centuries * TLS *A thoughtful anecdotal story, enlivened with detail, light humour and well chosen illustrations * British Archaeology *

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Book SynopsisCreating African Fashion Histories examines the stark disjuncture between African self-fashioning and museum practices. Conventionally, African clothing, textiles, and body adornments were classified by museums as examples of trade goods, art, and ethnographic materialsnever as fashion. Counterposing the dynamism of African fashion with museums' historic holdings thus provides a unique way of confronting ways in which coloniality persists in knowledge and institutions today. This volume brings together an interdisciplinary group of scholars and curators to debate sources and approaches for constructing African fashion histories and to examine their potential for decolonizing museums, fashion studies, and global cultural history. The editors of this volume seek to answer questions such as: Howcan researchers use museum collections to reveal traces of pastself-fashioning that areobscured by racialized forms of knowledge and institutional practice? How can archival, visual, oral, ethnogTrade Review"Creating African Fashion Histories is an innovative and timely publication that marks a welcome turn in the writing of global fashion histories and the curation of works by Africa's historic and contemporary fashion creatives. This agenda-setting volume brings museum and sartorial practices into critical dialogue for the first time. The book is divided into three sections, each flowing organically onto the next. The first focusses on constructing fashion histories, the second on translations of fashion identities, and the third on new approaches to fashion curation that acknowledge our imperial and colonial pasts, whilst moving forward in an equitable manner. The contributing authors eloquently examine the tangled relationship between power, knowledge production, and the confounding misrepresentation of the continent—its people, histories and cultures—using African fashions as a starting point. The range of geographic locations featured, from Morocco to South Africa and Ghana to the Swahili coast, alongside the number of perspectives incorporated, present African fashions as varied and ever-changing. Close attention is paid to the political, economic, and cultural contexts that have shaped and continue to shape both fashion scenes and museum collections. These elements combine to suggest new ways of understanding and mapping not only African fashion histories, but the complexities of global cultural histories as a whole."—Christine Checinska, Curator of African and African Diaspora Fashion at the Victoria and Albert Museum"This book is an important contribution at the intersection of fashion history, museum curatorial studies, and anti-colonial intellectual practice. Like the exhibition from which it comes, this work 'underlines both the urgent need for, and obstacles facing, efforts to bring about significant institutional change' within museums when it comes to the collection and display of African creative products. Thus, it is a work of importance for our times, as a reflection point for those engaged in the display of African fashion collections. As decolonization debates continue and many museums remain at the forefront of their subsumption into a neoliberal rhetoric that serves to maintain rather than disrupt the status quo, this volume's essays and the ideas they explore keep vital debates not only relevant, but useful for those who truly work toward continuing to disentangle museums from their colonial foundations. This thought-work is action, in critique of the dominant colonial paradigm. Read it."—Davinia Gregory-Kameka, Columbia UniversityTable of ContentsAcknowledgments1. Introduction: Creating African Fashion Histories: Politics, Museums, and Sartorial Practices, by JoAnn McGregorPart I: Constructing African Fashion Histories2. Historicizing Fashion in Western Africa: Global Linkages, Regional Markets, and Local Tastes, 1400-1850, by Jody Benjamin3. Finding Fashion in the Museum: (Re)Assembling a Precolonial Eastern African Fashion Moment, by Sarah Fee4. Beloved, Ignored, and Contested: The Politics of Kente in Ghana since the 1960s, by Malika KraamerPart II: Transmitting and Translating African Fashion Identities5. Translocal Subjectivities, Space, and Aesthetics: The World of Nigerian Fashion, by Harriet Hughes6. Fabric in the Fashion Photography of Omar Victor Diop, by Beth Buggenhagen7. "There Was No Fashion in Morocco Before": (Re)Creating Contemporary Moroccan Fashion History, by M. Angela Jansen8. Unrest and Dress: The Symbol of the Sycamore Tree in Oromo Adornment, by Peri M. KlemmPart III: Collecting, Curating, and Displaying Africa Fashions9. Stories behind the Collections and Why They Matter: Examples from Indiana University, by Heather Akou10. Refashioning Clothing Collections in South African Museums, by Erica de Greef11. Fashioning Africa: Using a New Collection of Dress to Decolonize Museum Practice, by Edith Ojo, Helen Mears, and Nicola StylianouBibliographyIndex

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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 SynopsisWinner, Toronto Book AwardsMoving the Museum documents the reopening of the J.S. McLean Centre for Indigenous & Canadian Art with a renewed focus on the AGO’s Indigenous art collection. The volume reflects the nation-to-nation treaty relationship that is the foundation of Canada, asking questions, discovering truths, and leading conversations that address the weight of history and colonialism.Lavishly illustrated with more than 100 reproductions, Moving the Museum: Indigenous + Canadian Art at the AGO features the work of First Nations artists — including Carl Beam, Rebecca Belmore, and Kent Monkman — along with work by Inuit artists like Shuvinai Ashoona and Annie Pootoogook. Canadian artists include Lawren Harris, Kazuo Nakamura, Joyce Wieland, and many others. Drawing from stories about our origins and identities, the featured artists and essayists invite readers to engage with issues of land, water, transformation, and sovereignty and to contemplate the historic and future representation of Indigenous and Canadian art in museums.Trade Review“Moving the Museum is a timely and important book.” -- Portia Priegert * Galleries West *

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Book Synopsis''A refreshingly original meditation... I wish I had written it myself'' Literary ReviewGraveyards are oases: places of escape, peace and reflection. Liminal sites of commemoration, where the past is close enough to touch. Yet they also reflect their living community - how in our restless, accelerated modern world, we are losing our sense of connection to the dead.Jean Sprackland - the prize-winning poet and author of Strands - travels back through her life, revisiting her once local graveyards. In seeking out the stories of those who lived and died there, remembered and forgotten, she unearths what has been lost.Trade ReviewA wide-ranging, unpredictable and refreshingly original meditation on a huge but widely ignored subject: the relationship between the living and the dead… Exhilarating… This is a lovely book: beautifully written, never lapsing into self-conscious ‘poet’s prose’, always a joy to read. I wish I had written it myself. -- Nigel Andrew * Literary Review *Cemetery tales, filled with fascinating details and told with a poet’s skill… Delightfully morbid… Sprackland roves about history, language, biology, architecture, entomology, iconography and much else in her quest for meaning… [and] the astonishing twist…should justify your reading These Silent Mansions in its entirety. -- Anthony Quinn * Guardian *Shot through with delightful digressions… There is a spare beauty to Sprackland’s prose… These Silent Mansions is a strange and mercurial book; hard to pin down, but even harder to forget. -- Lucy Scholes * i *Sprackland has the poet’s knack for atmosphere and a magician’s ability to conjure up other worlds. She is like a ghostly time traveller… Sprackland is particularly agile, though, at exploring the ways in which a graveyard reflects its community and how, with modern life, we are losing this sense of connection. -- Ann Treneman * The Times *Part social history, part personal meditation and wholly enchanting - as attentive to local and moving details as it is to the fact of mortality itself. -- Andrew Motion

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Book SynopsisTrade Review"It is fitting that archaeologists, whose profession played a key role in the establishment of Greece as a client state subservient to the European colonial powers, should today be a vocal majority in this extraordinarily rich critical review of archaeology's political role in Greece and Cyprus over the past two centuries. Contested Antiquity transcends the geographical boundaries of its subject, offering a comprehensive, thoroughly documented, and meticulously argued account that will serve for years to come as a model for the investigation of the impact of ideology and politics on serious scholarship."—Michael Herzfeld, Harvard UniversityTable of ContentsAcknowledgmentsIntroduction: Contested Antiquity in Greece and CyprusPart I: Between nationalism, colonialism and crypto-colonialism: Historical perspectives and current implications1. Hellas Mon Amour: Revisiting Greece's National "Sites of Trauma"2. Archaeology and Politics in the Inter-War Period: The Swedish Excavations at Asine3. Contested Perceptions of Archaeological Sites in Cyprus: Communities and their Claims on their Past4. Pressed On in Press: Greek Cultural Heritage in the Public Eye: The Post-War YearsPart II: Spatial metaphors and ethnographic observations: heritage, memory and dissonance5. The Gentrification of Memory: The Past as a Social Event in Thessaloniki of the Early Twenty-first Century6. The Oracle of Dodona: Contestation over a "Sacred" Archaeological Landscape7. Archaeological "Protection Zones" and the Limits of the Possible: Archaeological Law, Abandonment and Contested Spaces in GreecePart III: Competing pasts8. Heritage as Obstacle: Or Which View to the Acropolis?9. Eptapyrgio, a Modern Prison inside a World Heritage Monument: Raw Memories in the Margins of Archaeology10. Contemporary Art and "Difficult Heritage": Three Case Studies from AthensEndnoteIndex

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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 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 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 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 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 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 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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Book SynopsisDublin's Natural History Museum is a uniquely preserved sliver of the past, an intact example of a nineteenth-century natural science collection. While its polished cases and stuffed animals show us what the museum looked like in its heyday, this book is the first detailed exploration of its early history, showing how and why it came into being, and what it meant in nineteenth-century Irish culture. From its earliest days as a small collection at the Royal Dublin Society to the gala inauguration of its new home on Merrion Square in 1857, everyone had an idea about what it was for, and how natural science would benefit Ireland. It was the first public museum in Ireland, a project of the RDS that was supported by central government as an educational venue, and was frequented by ordinary citizens and visitors as well as leading lights of natural science. Its history offers a view of science in Ireland showing that the museum was built over time by donations from citizens and scientific amateurs as well as professionals, and that Irish men of science shaped new knowledge from the raw material in the collections. Far from the aura of genteel nostalgia that continues to attract visitors today, the Natural History Museum of the nineteenth century was an active scientific institution with strong connections to the wider sphere of European science, and shows how participation in natural science was a form cultural activity for the people who engaged with the museum.

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Book SynopsisRecycling is a basic anthropological process of humankind. The reutilization of materials or of ideas from the Past is a process determined by various natural or cultural causes. Recycling can be motivated by a crisis or by a complex symbolic cause like the incorporation of the Past into the Present. What archaeology has not insisted upon is the dimensional scale of the process, which operates from the micro-scale of the recycling of the ancestors’ material, up to the macro-scale of the landscape. It is well known that there are direct relations between artefacts and landscapes in what concerns the materiality and mobility of objects. An additional relation between artefact and landscape may be the process of recycling. In many ways artefact and landscape can be considered as one aspect of material culture, perceived at a different scale, since both have the same materiality and suffer the same process of reutilisation. This book invites archaeologists to approach the significant process of recycling within the archaeological record at two different levels: of artefacts and of landscape.Table of ContentsThe Never Ending Journey: Cycling and Recycling Seen through a Critical Assessment of the Taphonomic Process (Roberta Robin Dods); Sustainability, Health, and Society: Prehistoric Artefacts as Sustainable Materials (Lolita Nikolova); Recycling Power and Place: The Many Lives of Traprain Law, SE Scotland (Ian Armit, Andrew Dunwell, Fraser Hunter); Tells as Recycled Places. Experimenting the Chalcolithic Ritual Technologies of Construction and Deconstruction (Dragoş Gheorghiu); Copper and Bronzes: The Birth of Complete Recycling in The Bronze Age (Davide Delfino); Rock Art Recycled? On the Use of Bronze Age Rock Art Sites during the Iron Age in Southern Scandinavia (Per Nilsson); Recycled Memories: The Past and Present in Early Iron Age Landscapes of Southern Germany (Matthew L. Murray); Ancestral Places: The Creation and Recycling of Monumental Landscapes in South-Eastern Slovenia in The 1st Millennium BC and the 1st Millennium AD (Phil Mason); Recycling Pots, Places and Practices: The Roman Cemetery at Podlipoglav (Bernarda Županek and Irena Sivec); Secondary Use of Storage Vessels and Household Pottery During the Late Middle Ages: Pottery in Vaults as a Case Study (Marta Caroscio); The Reuse of Materials during the Medieval and Post-Medieval Periods: A Case Study of Recycling Building Materials in Rothwell, near Leeds, England (George Nash)

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Book SynopsisCurating empire explores the diverse roles played by museums and their curators in moulding and representing the British imperial experience. This collection demonstrates how individuals, their curatorial practices, and intellectual and political agendas influenced the development of a variety of museums across the globe. Taken together, these contributions suggest that museums are not just sites for accessing history but need to be considered as historical sites of significance in themselves. Individual essays examine the work of curators in museums in Britain and the colonies, the historical display and interpretation of empire in Britain, and the establishment of 'museum networks' in the British imperial context. Curating empire sheds new light on the relationship between museums, as repositories for objects and cultural institutions for conveying knowledge, and the politics of culture and the formation of identities throughout the British Empire.Table of ContentsGeneral editor’s introductionIntroduction: Curating empire: Museums and the British imperial experience – Sarah Longair and John McAleer1. The case of Thomas Baines, curator-explorer extraordinaire, and the display of Africa in nineteenth-century Norfolk – John McAleer 2. Visiting the Empire at the provincial museum, 1900–50 – Claire Wintle 3. Carving out a place in the Better Britain of the South Pacific: Maori in New Zealand museums and exhibitions – Conal McCarthy4. Curiosities or science in the National Museum of Victoria: Procurement networks and the purpose of a museum – Gareth Knapman5. Narrative as history, image as memory: Exhibiting the Great War in Australia, 1917–41–Jennifer Wellington 6. ‘The lady curator’s style’: Negotiating curatorial challenges in the Zanzibar Museum –Sarah Longair 7. A Museum for Sierra Leone? Amateur enthusiasms and colonial museum policy in British West Africa – Paul Basu 8. Edgar Thurston at the Madras Museum (1885–1909): The multiple careers of a colonial museum curator – Savithri Preetha Nair 9. Sir William Gregory and the origins and foundation of the Colombo Museum – Philip McEvansoneya 10. Tipu’s Tiger and images of India in British museums, 1799–2009 – Sadiah Qureshi Afterword: Objects, empire and museums – Sarah Longair and John McAleer Index

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Book SynopsisWe've all been tourists at some point in our lives. How is it we look so condescendingly at people taking selfies in front of the Tower of Pisa? Is there really much to distinguish the package holiday from hipster city-breaks to Berlin or Brooklyn? Why do we engage our free time in an activity we profess to despise?The World in a Selfie dissects a global cultural phenomenon. For Marco D'Eramo, tourism is not just the most important industry of the century, generating huge waves of people and capital, calling forth a dedicated infrastructure, and upsetting and repurposing the architecture and topography of our cities. It also encapsulates the problem of modernity: the search for authenticity in a world of ersatz pleasures.D'Eramo retraces the grand tours of the first globetrotters - from Francis Bacon and Samuel Johnson to Arthur de Gobineau and Mark Twain - before assessing the cultural meaning of the beach holiday and the 'UNESCO-cide' of major heritage sites. The tourist selfie will never look the same again.Trade ReviewA sophisticated, engaging, clever book -- Sabine Peters * Berliner Zeitung *Provocative and entertaining -- Andrea Dernbach * Der Tagesspiegel, Berlin *A work of intelligence and wit: the history and phenomenology of the tourist, from Hegel to Tripadvisor * La Repubblica *Accumulates surprising and unsettling data, interpretations and testimonies, putting certainties we take for granted into crisis: the distinction between material and immaterial values, between commodities and fetishes, between modernity and post-modernity -- Giuliano Milani * Internazionale, Rome *Chicago, America's megalopolis-as-metaphor, has found its leftward de Toqueville in Marco d'Eramo. His book is as rare as an Indian Head penny and as hard as truth. It is a book that Algren, Dreiser, Altgeld and Darrow would have acclaimed as 'on the button' -- Studs Terkel * for The Pig and the Skyscraper *Fun and challenging, The World in a Selfie mixes the flavors of Mark Twain, Karl Marx, and theme parks to result in a real and welcome trip elsewhere. -- Meredith Grahl Counts * Foreword Reviews *Marco D'Eramo deconstructs the politics of sightseeing, and the search for authenticity within it. * New York Times Book Review *A sophisticated, engaging, clever book * Berliner Zeitung *Surprising and unsettling, putting certainties we take for granted into crisis * Internazionale *Provocative and entertaining * Der Tagesspiegel *A work of intelligence and wit * la Repubblica *The World in a Selfie is digressive, the chapters like a series of meditations that touch on various aspects of travel and tourism. -- Sophie Haigney * The New Republic *Readable, well-researched and well-written. -- Mik Sabiers * Morning Star *Thought-provoking . This is an intriguing book for sociologists and economists, as well as for serious travelers wishing to understand their impact as they once again move about the globe. -- Cindy Pauldine * Shelf Awareness (Starred Review) *A bracing, provocative examination of an all-too-human pastime. -- Benjamin Shull * Wall Street Journal *A fascinating journalistic approach to one the biggest influences on our economy and imaginations, The World in a Selfie spellbinds. A wonderful read for travelers and non-travelers in the new world of a pandemic. * Champagne Living *The truth is that tourists have always been unpopular ... The root of the stigmatisation, argues Marco D'Eramo, is the resentment of rattrapage, one social class catching up with another. -- Tom Robbins * Financial Times *A provocative take on the meanings of contemporary travel. -- Jim Gladstone * Passport Magazine *In a summer when all our assumptions about travel and tourism are being called into question, this engrossing book, newly translated from Italian, is the ideal guide. -- Tom Robbins * Financial Times: Summer books of 2021 *Andras's novel reaches for imaginative inner connections and syntheses across scale and time. He is no stranger to sociological contradiction, nor to psychological complexity. -- Jeffery R. Webber * Spectre *

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Book SynopsisThis edited collection explores a subject of great potential for both art historians and museologists – that of the nature of the specimen and how it might be reinterpreted. Through its cross-disciplinary contributions, written by a team of art historians, artists, poets, anthropologists, critics and curators, this book looks at how artistic encounters in museums, ranging from anatomy museums to contemporary cabinets of curiosity, can provoke new modes of thinking about art, science and curating. Museological literature in the past focused on artefacts or objects; this is an original contribution to the field and offers new readings of old issues, inspiring new understandings of the relationships between art, science and curating. Brings together international expertise from art practitioners, historians, creative writers and theorists in France, the United States, United Kingdom and New Zealand. Contributions from creative practitioners draw upon their own experience of producing artworks in response to specific scientific collections while historians, anthropologists, critics and writers examine how museums stimulate, incite and otherwise inspire artistic awareness of science and its specimens. One of the most important contributions this book will make is drawing together several threads of research and practice to encourage interdisciplinary discussion. It provides new ways of thinking about the relationships between art, science, museums and their objects. It concentrates on the ways in which scientific collections kindle novel aesthetic strategies and inspire new scholarly interpretations of art, science, curating and epistemology. In so doing it will make a considerable contribution to the fields of art writing, creative practice, art theory, the history of science and curating. This book will appeal to academics, researchers, undergraduates and postgraduates studying fine art, curating, museology, art history, the history of science, creative writing; visual artists, curators, and other creative practitioners. Also of interest to museum audiences. Reading list potential.Table of ContentsIntroduction Edward Juler and Alistair Robinson 1: Narratives of the ‘Fetish’ John Mack 2: Curating Interobjectively in Museums Alistair Robinson 3: ‘A Readiness to Find What Surrounds Us Strange and Odd’: Objects in the Relational Curiosity Museum Marion Endt-Jones 4: Art, Science and the Mutant Object Rahma Khazam 5: Models of Subjectivity: Surrealism, Physics and Psychoanalysis Gavin Parkinson 6: Glimpsed Phantoms of Sensation: Or, a Psychogeographical Investigation of Various Anatomical Specimens with Reference to Christine Borland’s Cet être-là, c’est à toi de le créer! Edward Juler 7 … as far back as I will remember Nadia Lichtig 8: Poetry and the Pathology Museum: A Model of Difference Christy Ducker 9: The Scientist and the Magician Irene Brown 10: Choosing, Unpicking and Connecting: On Drawing Museum Objects Richard Talbot 11: Post-Specimens and Present Ancestors: Passing Fables and Comparative Readings at the Wildgoose Memorial Library Jane Wildgoose 12: Moving beyond the Specimen (From Drawing Objects to Drawing Processes) Gemma Anderson 13: Desiccation, Suspension, Extraction: The Inhuman Art of Christine Borland Andrew Patrizio Afterword: What’s at Stake? Ludmilla Jordanova

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Book SynopsisThe Poole Iron Age logboat, one of the largest surviving prehistoric watercraft in Britain, is today imposingly displayed in the entrance to Poole Museum in Dorset. However, the vessel faced a difficult journey from its first discovery to the amazing artefact we can now see. Recovered from Poole Harbour in 1964, it is impossible to overestimate the international significance of this vessel. But until now it had never been fully recorded and apart from its impressive size, very little was known about it. Its dimensions made it inherently unstable and suggest it was designed for use solely in Poole Harbour. This book is the culmination of significant multi-disciplinary work carried out by a variety of specialists, from conservators to woodworking and boatbuilding experts, exploring not only the craft’s history but also its functionality – or lack of – as a vessel. Digital recording, using the latest technology, has made it possible to test its capabilities. For the first time, prehistorians, nautical archaeologists and lay people alike can understand the story of one of Britain’s oldest boats – the archaeological and historical background, the environmental context, the timber and ship science, and the challenges of conserving such an important vessel.Table of ContentsList of figures; List of tables; List of contributors; Acknowledgements; Foreword – Professor Seán McGrail; Chapter 1: Introduction - Keith Jarvis†; Chapter 2: Environmental and archaeological background to prehistoric Poole Harbour – Eileen Wilkes; Chapter 3: Evidence for the building of the Poole logboat – Damian Goodburn; Chapter 4: The Poole logboat: digital comparisons – Pat Tanner; Chapter 5: The conservation of the Poole logboat – Jeremy Hutchings and James A. Spriggs; Chapter 6: The display and interpretation of the Poole logboat – Katie Morton and David Watkins; Bibliography; Index

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Book SynopsisCultural Heritage Management in most parts of Africa has been concerned and focused on conservation and preservation of cultural and natural heritage and the development of sites for tourism and economic benefit. In this venture, the tangible heritage such as monuments and landscapes become the focus and of primary significance. Therefore, most efforts have failed to grasp the significance and relevance of cultural heritage to the local communities and the existing traditional and cultural attachment to heritage sites beyond the economic gain. Of late, operational guidelines of the WH Conventions have targeted the engagement of communities in the management of their local heritage and shaping visitor experiences. The major challenge is the implementation of these agreements and restoration of cultural pride in local communities. The communities’ interest in heritage areas has been overshadowed by the perceived idea of economic gain and the global agenda for preservation of monuments for future generation as the foremost primary benefit in heritage over cultural rights and entitlement to heritage sites, present day cultural valuation and traditional use. In 2008 several heritage sites in Botswana were opened for tourism in addition to the Tsodilo World Heritage Site. Furthermore, in June 2014 the Okavango Delta covering a vast range of land occupied by cultural communities was also inscribed on the World Heritage List, becoming the second World Heritage Site in the country. However, insufficient research and analysis has been undertaken to understand how local communities and local cultures respond to these ventures. The study is case study based, presenting an overview of community transformation and responses to universalized heritage value and collective global view that characterize heritage status of cultural materials and the interactions of local cultures and traditions with the concepts of heritage and culture in heritage sites as globalised platforms. In this regard, it is evident through this study that the interlocutors are aware of their community boundaries and value in response to a national and global process of ‘valuation’ of the heritage site that is not theirs.Table of ContentsChapter 1 Introduction and Conceptulisation Chapter 2 Approaching Inhabited Heritage Spaces: Grounded Theory and Community Heritage Research RESEARCH FINDINGS Chapter 3 Relevance and Competition for Recognition and Entitlement of Communities in Inhabited Heritage Areas Chapter 4 Heritage Community Value Dimensions and Impact on Host Communities Chapter 5 Heritage Community Interactions: Hosts and Visitors Chapter 6 Discussion and Concluding Remarks References Appendices

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