Museology and heritage studies Books

Book SynopsisTable of ContentsBailey Barnard, "Domesticated Partners: A New Analysis of a Sumerian Vessel Supported by Two Sheep" James Gill, "Insights on an Old Collection: Ptolemaic Period Pottery from Hibis (Kharga Oasis) in the Met" Michelle C. Wang, Xin Wen, and Susan Whitfield, "Buddhism and Silk: Reassessing a Painted Banner from Medieval Central Asia in the Met" Marjorie Shelley, "Joris Hoefnagel’s Insects: A Renaissance Deception" Daniel Wheeldon, “The Tastengitarre: A Romantic Guitar with Keys in the Met” Amy Werbel, "John Haberle's A Bachelor's Drawer (ca. 1894): Censorship, Geologic Time, and Truth in America" Doug Eklund, “'The Toughest, Meanest Art I Was Making': Ed Ruscha’s Books"

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Book SynopsisThrough much of its history, Italy was Europe's heart of the arts, an artistic playground for foreign elites and powers who bought, sold, and sometimes plundered countless artworks and antiquities. This loss of artifacts looted by other nations once put Italy at an economic and political disadvantage compared with northern European states. Now, more than any other country, Italy asserts control over its cultural heritage through a famously effective art-crime squad that has been the inspiration of novels, movies, and tv shows. In its efforts to bring their cultural artifacts home, Italy has entered into legal battles against some of the world's major museums, including the Getty, New York's Metropolitan Museum, and the Louvre. It has turned heritage into patrimony capitala powerful and controversial convergence of art, money, and politics. In 2006, the then-president of Italy declared his country to be the world's greatest cultural power. With Ruling Culture, Fiona Greenland traces Trade Review"The famous Art Squad police unit is pitted against thieves and smugglers in this broad-ranging study, which shows how Italy has transformed its rich heritage into global cultural capital." * Apollo, "Off the shelf" *"In this thought-provoking book, Greenland walks us through a couple of centuries of evolving cultural heritage policy in Italy. . . . The book offers a ground-breaking discussion of developing Italian policy for cultural heritage, ending with the inevitable neo-liberal entanglements of private capital, but it also contains a wealth of raw material and pointers for further research." -- Neil Brodie * Criminal Law and Criminal Justice Book Reviews *"Fiona Greenland’s Ruling Culture: Art Police, Tomb Robbers, and the Rise of Cultural Power in Italy is a meticulous and insightful work inviting the reader to look closer at the construction of Italian cultural power . . . This book is a model in terms of methodology and analysis for its depth and kaleidoscopic approach. It can also serve as a way to reflect on western cultural powers and legal systems in place for the preservation of artefacts and archaeological practices." * Cultural Sociology *“In this beautifully written and insightful study of the mutual entanglement between Italy’s national art police squad and the deeply entrenched tradition of tomb robbing, Greenland’s portrayal of the robbers—in whom Italians see heroic tricksters and traitorous villains by turns—is both sharply analytical and descriptively captivating. She deftly articulates historical and legal detail with a rattling good story.” -- Michael Herzfeld, author of Evicted from Eternity: The Restructuring of Modern Rome“Ruling Culture is groundbreaking. Greenland addresses the problem of how culture is used by states and various non-state actors to foster allegiance to nations, investigating culture as a key building block of national identity and making a convincing case for the difference between cultural power and ideological power.” -- Richard Lachmann, author of First Class Passengers on a Sinking Ship: Elite Politics and the Decline of Great Powers“Ruling Culture provides a detailed and thought-provoking analysis of the construction of Italian national identity. It promises to be a major contribution to our understanding of Italian national identity, the institutional and legal dimensions of heritage, and the disciplinary history of archaeology. Greenland has written a first-rate piece of work and a valuable scholarly contribution.” -- Joshua Arthurs, author of Excavating Modernity: The Roman Past in Fascist Italy"Tomb robbing is not the typical sociological fare, and thanks to Fiona Greenland’s expertise and beautiful writing, Ruling Culture: Art Police, Tomb Robbers, and the Rise of Cultural Power in Italy emerges as a fresh, fascinating work of cultural analysis." * Contemporary Sociology *"[Greenland's] methods and analysis reflect her positionality as a social scientist with a deep appreciation for and understanding of the humanities. Ruling Culture is a model for how to incorporate multiple sources of data within sociological analysis." * American Journal of Sociology *Table of ContentsIntroduction: The World’s Greatest Cultural Power 1 Art Squad Agonistes 2 The American Price 3 Distributing Sovereignty: From Fascism to the Art Squad 4 Tomb Robbers and Cultural Power from Below 5 Made in Italy 6 Farewell to the Tomb Robber Acknowledgments Appendix: Methodology Notes References Index

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Book SynopsisTrade Review"In this beautifully written and insightful study of the mutual entanglement between Italy's national art police squad and the deeply entrenched tradition of tomb robbing, Greenland's portrayal of the robbers--in whom Italians see heroic tricksters and traitorous villains by turns--is both sharply analytical and descriptively captivating. She deftly articulates historical and legal detail with a rattling good story."--Michael Herzfeld, author of Evicted from Eternity: The Restructuring of Modern Rome "Ruling Culture provides a detailed and thought-provoking analysis of the construction of Italian national identity. It promises to be a major contribution to our understanding of Italian national identity, the institutional and legal dimensions of heritage, and the disciplinary history of archaeology. Greenland has written a first-rate piece of work and a valuable scholarly contribution."--Joshua Arthurs, author of Excavating Modernity: The Roman Past in Fascist Italy "Ruling Culture is groundbreaking. Greenland addresses the problem of how culture is used by states and various non-state actors to foster allegiance to nations, investigating culture as a key building block of national identity and making a convincing case for the difference between cultural power and ideological power."--Richard Lachmann, author of First Class Passengers on a Sinking Ship: Elite Politics and the Decline of Great PowersTable of ContentsIntroduction: The World’s Greatest Cultural Power 1 Art Squad Agonistes 2 The American Price 3 Distributing Sovereignty: From Fascism to the Art Squad 4 Tomb Robbers and Cultural Power from Below 5 Made in Italy 6 Farewell to the Tomb Robber Acknowledgments Appendix: Methodology Notes References Index

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Book SynopsisAn original perspective on the history of northern North American peoples grounded in things, this book explores how close, collaborative looking can discern the traces of contact, exchange, and movement of objects and give them a life and political power in complex cross-cultural histories.Trade Review"Object Lives and Global Histories in Northern North America demonstrates how objects can be related to such diverse themes as status, masculinity, imperial and diplomatic relations, craftsmanship, perseverance of Indigenous traditions, cultural hybridity, personal relationships and gift-giving, consumerism, ways of knowing, and health and healing. It is a sustained application of material culture theory to a diverse range of Indigenous material culture that keeps the objects front and centre." Michelle Hamilton, University of Western Ontario“Ultimately, Object Lives and Global Histories provides a broader appreciation of multidisciplinary approaches to Indigenous material cultures. It also encourages scholars, museum workers, and others to delve deep, to engage in slow or concentrated looking and multi-sensory explorations, as well as multi-vocal dialogues—to listen, to learn, and to honour the abundance of knowledges that function outside the walls of the museums, the archives, and institutional frameworks. It offers insights as to how decentre and reframe historical analyses of objects by bringing lives to bear on their existence.” RACAR"Object Lives and Global Histories in Northern North America is without doubt 'a tool for future endeavours' as it sets out to be. Like the objects it analyses, it should circulate widely, across disciplinary borders and social networks beyond museum walls to help guide new methodologies around the study of collections whose diverse contexts—and our understandings of them—continue to change." Dress: The Journal of the Costume Society of America"[T]his book is a feast for the eyes." Material Culture Review/Revue de la culture matérielle“[An] impressive collection that will surely impact how scholars think about material culture, collaborative research, and decolonizing the academy for years to come.” HNet

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Book SynopsisTrade Review"Chronicling a century of cultural engagement with a focus on Guelph's growing artistic community, Judith Nasby weaves personal recollections with reflections on her journey: building a collection, creating an exhibition, publication, and education program, and profiling Indigenous and Canadian art. The Making of a Museum is as much a portrait of Guelph's art centre as it is the story of the development of generations of contemporary artists in Canada. With this book, Nasby focuses attention and research on Guelph's active and engaged artistic communities." Georgiana Uhlyarik, curator of Canadian art"The Making of a Museum is a timely account of the creation and growth of a mid-sized Canadian university art museum. The themes are broadly conceived around cultures of display, yet this is not a study of abstract museology. Judith Nasby interweaves her story with personal anecdotes that tell the tale of the art institution, while revealing the passion and behind-the-scenes manoeuvres that have sustained it. The end result is something quite rare and unexpected – the story of a university art gallery brought to life by a narrator who has dedicated her career to the art museum." Carmen Robertson, Carleton University

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Book SynopsisWomen at the Helm explores the accomplishments of the first three women to direct the National Gallery of Canada during three transformative decades in its history. From leadership styles to challenges faced to contributions to the institution, Nemiroff considers their remarkable careers and the obstacles still faced by women in leadership today.Trade Review"In addition to its thorough analysis of the challenges faced by women in leadership positions, this is a book about women leaders and their everyday work. Women at the Helm paints a rich picture of what it means to lead a major art institution and tells us as much about the history of the National Gallery of Canada as it does about the women who led the institution during a very formative period." Anne Whitelaw, Concordia University and author of Spaces and Places for Art: Making Art Institutions in Western Canada, 1912–1990"Seldom have I read a book in which the issues facing institutions and their directors are so deeply researched, so clearly synthesized, and so engagingly presented. Diana Nemiroff demonstrates the complex circumstances in which each director found herself and lays out in detail the obstacles of bureaucracy, the veiled challenges to women in leadership positions, and the need for arm's-length governance of national cultural institutions. Women at the Helm is a fascinating page-turner." Joyce Zemans, York University and co-editor of Museums after Modernism: Strategies of Engagement“In this vibrant intellectual history of the National Gallery of Canada, Diana Nemiroff draws out the leadership and legacy of three women guiding this key Canadian institution from the 1960s to the 1990s. Written with a deft knowledge of cultural policy, the gallery’s internal workings, and the importance of curators and artists, this fine book reveals the many challenges of the gallery in navigating this turbulent and transformative period. Nemiroff never loses sight of the research, exhibitions, and artworks that were often at the centre of debate, discussion, and controversy under these three exceptional directors.” 2022 Ottawa Book Awards jury"This is an important book, and the successes and failures that Nemiroff lays bare make for essential reading for anyone interested in Canada’s artistic heritage or in institutional leadership." RACAR

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Book SynopsisA case study of an app designed for the Museum of London (UK) and remade for the McCord Museum (Canada), Reconfiguring the Museum offers a detailed account of digital exhibitionary practices and their politics and offers practical considerations for practitioners charged with creating digital exhibitions and accounting for their success or failure.Trade Review“For practitioners, the book considers the impact of technologies, politics, and user experiences and presents the implications for future research, methodologies, and practices. The study is primarily intended for museum curators, academics, and students in museum and media studies but will also interest professionals and students in the archival field and creative industries. Recommended.” Choice

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Book SynopsisList of Figures Glossary Acknowledgments Introduction 1 PART I: MUSEUM, MEMORY, MEDIUM 1. A New Type of Museum? 2. Memory Boom, Memory Wars and Memory Crisis 3. Is There Such a Thing as 'Collective Memory'? 4. Media Frameworks of Remembering 5. Difficult Pasts, Vicarious Trauma: The Concept of 'Secondary Witnessing' 6. Empathy and its Limits in the Museum 7. Nostalgia and Post-Nostalgia in Heritage Sites PART II: THE DEATHS OF OTHERS: REPRESENTING TRAUMA IN WAR MUSEUMS 8. Sites of Trauma 9. Icons of Trauma PART III: SCREEN MEMORIES AND THE 'MOVING' IMAGE: EMPATHY AND PROJECTION IN ISM, LIVERPOOL, AND IWM NORTH, MANCHESTER 10. The Politics of Empathy 11. Testimonial Video Installation 12. Middle Passage Installation 13. The Big Picture in IWM North 14. Guilt, Grief and Empathy PART IV: THE PARADOXES OF NOSTALGIA IN MUSEUMS AND HERITAGE SITES 15. (Post-)Nostalgia for the Museum? The Pitt Rivers Museum, Oxford 16. The Ghosts of Spitalfields: 18 Folgate Street and 19 Princelet Street 17. ITrade Review“Silke Arnold-de Simine’s book is a tour de force that introduces readers to a variety of new museums and heritage sites across Europe … When the reader finishes reading this intriguing and moving book, the first thing he or she wants to do is rush out and visit those new museums.” (Vered Vinitzky-Seroussi, European Journal of Cultural and Political Sociology, Vol. 2 (3-4), March, 2016)“Arnold-de Simine provides a very useful starting point for those wading into the research area situated between memory studies and museum studies. In making clear distinctions between authentic objects, representational displays, video testimony, and memory texts within her analysis of the mediated exhibits, she provides a nuanced understanding of the differences between museums, memorials, remembrance, and the spatial reenactment of trauma. Her synthesis of concepts from the various fields associated with the flourishing of “spaces of memory” will prove especially useful for anyone new to this burgeoning field.” (Amy Freier, Memory Studies, 2015, Vol. 8(3), p.379–382)"This book is a welcome and extremely useful contribution to the subject of memory studies. I suspect it will reinvigorate the field in some interesting ways and may even form the core of a new, much-needed round of cross-disciplinary research." (Journal of Contemporary European Studies, 2014)Table of ContentsList of Figures Glossary Acknowledgments Introduction 1 PART I: MUSEUM, MEMORY, MEDIUM 1. A New Type of Museum? 2. Memory Boom, Memory Wars and Memory Crisis 3. Is There Such a Thing as 'Collective Memory'? 4. Media Frameworks of Remembering 5. Difficult Pasts, Vicarious Trauma: The Concept of 'Secondary Witnessing' 6. Empathy and its Limits in the Museum 7. Nostalgia and Post-Nostalgia in Heritage Sites PART II: THE DEATHS OF OTHERS: REPRESENTING TRAUMA IN WAR MUSEUMS 8. Sites of Trauma 9. Icons of Trauma PART III: SCREEN MEMORIES AND THE 'MOVING' IMAGE: EMPATHY AND PROJECTION IN ISM, LIVERPOOL, AND IWM NORTH, MANCHESTER 10. The Politics of Empathy 11. Testimonial Video Installation 12. Middle Passage Installation 13. The Big Picture in IWM North 14. Guilt, Grief and Empathy PART IV: THE PARADOXES OF NOSTALGIA IN MUSEUMS AND HERITAGE SITES 15. (Post-)Nostalgia for the Museum? The Pitt Rivers Museum, Oxford 16. The Ghosts of Spitalfields: 18 Folgate Street and 19 Princelet Street 17. Intangible Heritage, Place and Community: Écomusée d'Alsace 18. Ostalgie – Nostalgia for GDR Everyday Culture? The GDR in the Museum PART V: UNCANNY OBJECTS, UNCANNY TECHNOLOGIES 19. Phantasmagoria and its Spectres in the Museum Conclusion Notes Bibliography Index

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Book SynopsisRobyn Autry recounts the public and private battles fought over the creation and content of history museums. Despite vast differences in the development of South African and U.S. society, Autry finds a common set of ideological, political, economic, and institutional dilemmas arising out of the selective reconstruction of the past.Trade ReviewAlthough comparisons of the anti-apartheid and civil rights movements abound, until now no scholar has attended to the comparative place of these struggles in the collective memory of the allegedly 'post-racial' U.S. and in South Africa's 'Rainbow Nation.' Desegregating the Past brilliantly reveals the power and limits of museums to reckon with a troubled racial past, casting new light on how we publicly remember the struggles against apartheid and segregation-and by doing so, how we forget. -- Alex Lichtenstein, Indiana University As South Africa and America wrestle with simmering legacies of cruel, racist histories, Robyn Autry's bold and layered text investigates how representations of a divided past are reconstructed into an imagined, 'desegregated' present. Invoking the museum as her mode of exploration, Autry powerfully reveals the compound and competing imperatives - ideological, political, economic, institutional - that have informed the maintenance and creation of public sites of memory as two nations transcend and transform their collective narratives. -- Andrea Durbach, author of A Common Purpose: The Story of the Upington 25 and director of the Australian Human Rights Center at the University of Sydney Desegregating the Past is a remarkable study of how collective perceptions of the past are shaped and displayed through contestation between public and private memory agents. Set in a comparative context, Autry examines the formation of racial and national identities in the USA and South Africa, and the balance between discourses of victimhood, solidarity and resistance in deeply divided histories. It is an important contribution to our understanding of how conflict and resolution are presented and re-presented in different historical contexts. -- Ran Greenstein, University of the Witwatersrand, South Africa As both a historian and museum curator, I believe that Autry's sociological analysis of museums as institutions and as producers of collective memories is groundbreaking. Her extensive research in the United States and South Africa illuminates the difficulties of producing contemporary national narratives from the messy, contentious, and violent elements of both nation's pasts. -- Fath Davis Ruffins, Curator, National Museum of American HistoryTable of ContentsAcknowledgments List of Museums Visited List of Abbreviations Introduction: Desegregating the Past 1. Memory Entrepreneurs: History in the Making 2. The Curated Past: Remembering the Collective 3. Managing Collective Representations 4. Memory Deviants: Breaking the Collective Conclusion: Museumification of Memory Notes Selected Bibliography Index

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Book SynopsisIn Art of Memories, Vincent Antonin Lépinay documents the Hermitage’s curatorial practices in an innovative consideration of the museum as a cultural laboratory. Lépinay analyzes the tensions between the museum as a space of exploration of the collections and as a culture heavily invested in self-protection from the outside world.Trade ReviewLépinay's ethnographic knowledge of how the staff of St. Petersburg’s Hermitage Museum tends its collections supports a brilliant, theoretically sophisticated analysis of the way curators maintain the meaning and historical importance of art works. Must reading if you want to understand the social processes that shape our experience of art. -- Howard S. Becker, author of Art WorldsIn this beautifully written, superbly researched, and theoretically rich book, Lépinay changes the way you will see museums in general and the Hermitage in particular. His account of the worlds of the museum—knit together through objects, people, and documents—illumines the set of complex trajectories and careers that characterize the museum. -- Geoffrey C. Bowker, Donald Bren Professor in Information and Computer Sciences, University of California, IrvineThis multiperspectival study—directing its analytic arsenal at the sociological, anthropological, and historical components of the Hermitage—is admirable in its refreshing examination of a museum’s infrastructure. Art of Memories is full of wit and intellectual surprises. -- Hans-Jörg Rheinberger, author of The Hand of the Engraver: Albert Flocon Meets Gaston BachelardAs he did so brilliantly for the back office of a bank in Codes of Finance, here Vincent Lépinay goes behind the galleries of one of the world’s greatest museums to discover its infrastructures of knowledge. He shows how, across the tsarist, Soviet, and post-Soviet eras and with various technologies of memory, the Hermitage collected and protected persons and things, curators and collections. In Art of Memories, the museum is a place of exploration, a space of science, and a cultural laboratory. -- David Stark, author of The Sense of Dissonance: Accounts of Worth in Economic LifeSheds light on the little-known history of the museum and opens the door to the reader to reveal the organizational structure of the museum as a cultural laboratory. * International Journal of Russian Studies *Theoretically rich and succinctly written, Art of Memories will be of interest to scholars of media studies, social theory, museum studies, and material culture. * Choice *In seeing the museum as a laboratory, as a box, or as an infrastructure, Art of Memories opens avenues to explore and it will be interesting to see how they will be taken up by the specialists and professionals of heritage work. * Books and Ideas *[A] bold and original study. * Russian Review *Table of ContentsPreface: Experimenting with the HermitageIntroduction: The Hermitage, a Cultural Laboratory1. Moving ObjectsInterlude 1: Art History and the Hermitage Before World War II2. Documenting the Museum3. Art History from the Collections UpInterlude 2: Mobility at the Hermitage4. The Nostalgic Modesty of Hermitage Restorers5. Guides: Taking Science Down the Galleries6. Spaces and Surprises: Technologies of Vision for a Long WinterConclusion: Secreting MemoriesAcknowledgmentsNotesReferencesIndex

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Book SynopsisIn Art of Memories, Vincent Antonin Lépinay documents the Hermitage’s curatorial practices in an innovative consideration of the museum as a cultural laboratory. Lépinay analyzes the tensions between the museum as a space of exploration of the collections and as a culture heavily invested in self-protection from the outside world.Trade ReviewLépinay's ethnographic knowledge of how the staff of St. Petersburg’s Hermitage Museum tends its collections supports a brilliant, theoretically sophisticated analysis of the way curators maintain the meaning and historical importance of art works. Must reading if you want to understand the social processes that shape our experience of art. -- Howard S. Becker, author of Art WorldsIn this beautifully written, superbly researched, and theoretically rich book, Lépinay changes the way you will see museums in general and the Hermitage in particular. His account of the worlds of the museum—knit together through objects, people, and documents—illumines the set of complex trajectories and careers that characterize the museum. -- Geoffrey C. Bowker, Donald Bren Professor in Information and Computer Sciences, University of California, IrvineThis multiperspectival study—directing its analytic arsenal at the sociological, anthropological, and historical components of the Hermitage—is admirable in its refreshing examination of a museum’s infrastructure. Art of Memories is full of wit and intellectual surprises. -- Hans-Jörg Rheinberger, author of The Hand of the Engraver: Albert Flocon Meets Gaston BachelardAs he did so brilliantly for the back office of a bank in Codes of Finance, here Vincent Lépinay goes behind the galleries of one of the world’s greatest museums to discover its infrastructures of knowledge. He shows how, across the tsarist, Soviet, and post-Soviet eras and with various technologies of memory, the Hermitage collected and protected persons and things, curators and collections. In Art of Memories, the museum is a place of exploration, a space of science, and a cultural laboratory. -- David Stark, author of The Sense of Dissonance: Accounts of Worth in Economic LifeSheds light on the little-known history of the museum and opens the door to the reader to reveal the organizational structure of the museum as a cultural laboratory. * International Journal of Russian Studies *Theoretically rich and succinctly written, Art of Memories will be of interest to scholars of media studies, social theory, museum studies, and material culture. * Choice *In seeing the museum as a laboratory, as a box, or as an infrastructure, Art of Memories opens avenues to explore and it will be interesting to see how they will be taken up by the specialists and professionals of heritage work. * Books and Ideas *[A] bold and original study. * Russian Review *Table of ContentsPreface: Experimenting with the HermitageIntroduction: The Hermitage, a Cultural Laboratory1. Moving ObjectsInterlude 1: Art History and the Hermitage Before World War II2. Documenting the Museum3. Art History from the Collections UpInterlude 2: Mobility at the Hermitage4. The Nostalgic Modesty of Hermitage Restorers5. Guides: Taking Science Down the Galleries6. Spaces and Surprises: Technologies of Vision for a Long WinterConclusion: Secreting MemoriesAcknowledgmentsNotesReferencesIndex

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Book SynopsisAn essential guide to building new exchanges and connections in the dynamic worlds of African and global art. Read to explore the reframing of African art through case studies of museums and galleries in the United States, Europe, and Africa.Trade Review"At just under 400 pages, this splendid and impressively researched book has eight chapters that divide thematically into three parts. . . . The main themes centre around artworks, artists, museum exhibits and others, while interviews with artists and curators close each chapter." --Theory, Culture, and Society"The authors' enthusiasm for their analytical approach is admirable . . . very timely and insightful work." --Ethnic and Racial Studies​"Jules-Rosette and Osborne succeed in their intention to illustrate a historical reconstituting of public perception of the African object--from ethnographic curiosity, to influence on other artistic movements, to embrace of the gamut of creative expression." --Choice"African Art Reframed is a qualitative study of the circulation and exhibition of African art in ethnographic and art museums and galleries in Europe, Africa, and the United States. Drawing on years of ethnographic observations, interviews with museum professionals and artists, and extensive archival and visual materials such as museum catalogs, Jules-Rosette and Osborn examine how African art is created, framed, and reframed in museums across three continents." --Symbolic Interaction​”An important intervention featuring new approaches to 'unmixing' in the exhibitionary complex of African and African American Art. It features interviews with French and US-based curators and museum directors engaged in emerging contexts and legacies of ethnographic display.”—Peter J. Bloom, author of French Colonial Documentary: Mythologies of Humanitarianism"African Art Reframed is a masterwork that interweaves theoretical innovations and critical analyses of the power dynamics in museum displays of African art." --Journal of African American History”This book is nothing less than a major breakthrough in museum studies. It is the first to systematically connect museum display practice to the recalibration of 'ethnic identity' that happens after colonialism. Its focus is on the global display of art and crafts from Africa and the African diaspora. But it is essential reading for anyone who wonders about what we want to hear from our forebears as we compel them to speak from behind glass, standing on plinths, and hanging on walls.”—Dean MacCannell, author of The Tourist: A New Theory of the Leisure ClassTable of ContentsList of Illustrations Foreword by Simon Njami Preface and Acknowledgments Introduction: Reframing African Art PART I: ENTERING MUSEUMS AT THE THRESHOLD CHAPTER 1. Lost and Found: Postcolonial Reflections on Colonial Museums CHAPTER 2. Revisiting the Storeroom: Collections and Cultural Surplus CHAPTER 3. Reaching Out: Museums, Audiences, and the Public Sphere PART II: DIALOGUES ON MUSEUM PRACTICES AND ART WORLDS CHAPTER 4. Museums Speak Out: Curators' Dialogues CHAPTER 5. Agitating African Art: Artists' Voices and Audience Responses PART III: UNMIXING AFRICAN ART AND REMIXING THE RESULTS CHAPTER 6. The Theory and Method of Unmixing CHAPTER 7. Remixing the Results and Looking Ahead CHAPTER 8. Personal Journeys and Reflections on African Art Chronology Notes Bibliography Index

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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 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 SynopsisHow museums construct themselves, their collections, and their publicsTrade Review. . . fascinating and probing treatments of issues that press on both museum workers and folklorists.October 15, 2008 -- Lee Haring * Brooklyn College (Emeritus) *Museum and Difference is about the role that museums play in shaping the stories that we tell about who we are and how we are different from other people. It is an interesting subject.Jan. 23, 2009 -- Matt Shinn * Museum Practice Magazine *Table of ContentsContentsAcknowledgmentsIntroduction Daniel J. ShermanPart 1. Representing Difference1. Art Museums and Commonality: A History of High Ideals Andrew McClellan2. "The Last Wild Indian in North America": Changing Museum Representations of Ishi Ira Jacknis3. National Museums and Other Cultures in Modern Japan Angus Lockyer4. Cultural Difference and Cultural Diversity: The Case of the Musée du Quai Branly Nélia Dias5. Gunther von Hagens's Body Worlds: Exhibitionary Practice, German History, and Difference Peter M. McIsaacPart 2. Representing Differently6. Meta Warrick's 1907 "Negro Tableaux" and (Re)Presenting African American Historical Memory W. Fitzhugh Brundage7. Skulls on Display: The Science of Race in Paris's Musée de l'Homme, 1928–1950 Alice L. Conklin8. Dossier: "Inventing Race" in Los Angeles Ilona Katzew and Daniel J. Sherman9. Living and Dying: Ethnography, Class, and Aesthetics in the British Museum Lissant Bolton10. Museums and Historical Amnesia William H. TruettnerContributorsIndex

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Book SynopsisThe first history of the deaccession of objects from museum collections that defends deaccession as an essential component of museum practice.Museums often stir controversy when they deaccession works—formally remove objects from permanent collections—with some critics accusing them of betraying civic virtue and the public trust. In fact, Martin Gammon argues in Deaccessioning and Its Discontents, deaccession has been an essential component of the museum experiment for centuries. Gammon offers the first critical history of deaccessioning by museums from the seventeenth to the twenty-first century, and exposes the hyperbolic extremes of “deaccession denial”—the assumption that deaccession is always wrong—and “deaccession apology”—when museums justify deaccession by finding some fault in the object—as symptoms of the same misunderstanding of the role of deaccessions in proper museum practice. He chronicles a ser

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Book SynopsisHow curating has changed art and how art has changed curating: an examination of the emergence contemporary curatorship.Once considered a mere caretaker for collections, the curator is now widely viewed as a globally connected auteur. Over the last twenty-five years, as international group exhibitions and biennials have become the dominant mode of presenting contemporary art to the public, curatorship has begun to be perceived as a constellation of creative activities not unlike artistic praxis. The curator has gone from being a behind-the-scenes organizer and selector to a visible, centrally important cultural producer. In The Culture of Curating and the Curating of Culture(s), Paul O'Neill examines the emergence of independent curatorship and the discourse that helped to establish it.O'Neill describes how, by the 1980s, curated group exhibitions—large-scale, temporary projects with artworks cast as illustrative fragments—came to be understood as th

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Book SynopsisCultural property and its stewardship have long been concerns of museums, archaeologists, art historians, and nations, but recently the legal and political consequences of collecting antiquities have also attracted broad media attention. This has been the result, in part, of several high-profile trials, as well as demands by various governments for the return of antiquities to their countries of origin. These circumstances call out for public discussion that moves beyond the rather clear-cut moral response to looting, to consider the implications of buying, selling, and exhibiting antiquities. To whom should they belong? What constitutes legal ownership of antiquities? What laws govern their importation into the United States, for instance? What circumstances, if any, demand the return of those antiquities to their countries of origin? Is there a consensus among archaeologists and museum directors about these issues? These and other pertinent issues are addressed in thTrade Review“Robin Rhodes' new volume presents a rich collection of essays with multiple perspectives on ethical questions surrounding the ownership of cultural property and the acquisition of antiquities. Directors of large and small museums, lawyers specialized in U.S. and international law, art historians, curators, and field archaeologists address these topics from their own points of view. The result is as rewarding as it is timely.” —Mary Sturgeon, University of North Carolina at Chapel Hill". . . one simple unseemly truth: collecting antiquities promotes the destruction of world heritage. I was fascinated by these chapters, and Rhodes has done archaeology a service in publishing this book. The elegant arguments of the archaeologists deserve a wide readership, particularly among Americancollectors. Until they understand what devastation they unwittingly promote, we can only weep for our stolen history." —Jack Davis, Director, American School of Classical Studies at Athens ". . . a welcome addition to an ever burgeoning bibliography on the ethics and legal issues in the antiquities trade. There are many essays here that are up-to-date and easily accessible to any interested reader, because they are largely written in the conversational style with which they were delivered. Many viewpoints are expressed and several essays show how the ground is shifting as museums re-write policies to take into account new legal realities, especially internationally, while archaeologists, anthropologists, art historians, and legal professionals show an increasingly more sophisticated understanding of the many dimensions of illicit excavation and the acquisition of illicit property." —James C. Wright, Bryn Mawr College“Presented by a distinguished group of archaeologists, art historians, museum directors, and professors of law, the essays discuss the ethical and practical issues that concern how antiquities come into museums, addressing in particular international laws against looting and purchasing looted goods, and the issues that archaeologists, museum directors, and historians face when studying goods acquired without provenance.” —Book News“This work addresses the collection and the trade of licit and illicit antiquities in museums, and also the role of academics in documenting the looting of archaeological sites and the trade in antiquities. . . . [It] serves to clarify distinct positions and reminds readers that understanding multiple viewpoints is vital in fostering more public involvement in museums’ practices.” —caareviews.org (CollegeArtAssociation)

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Book SynopsisBritish colonial expansion led to the display of many valuable African artifacts in Britain. This analysis covers the ways in which African peoples and their material culture were represented, the justifications for imperial expansion; and the effects this had on racial stereotyping.Table of ContentsMaterial culture at the crossroads of knowledge - the case of the Benin "bronzes"; voices in the wilderness - critics of empire; aesthetic pleasure and institutional power; the spectacle of empire 1 - expansionism and philanthropy at the "Stanley and the African" exhibition; the spectacle of empire 2 - exhibitionary narratives; temples of empire - the museum and its publics; containing the continent - ethnographies on display; "For God and For England" - missionary contributions to an image of Africa; national unity and racial and ethnic identities - the Franco-British exhibition of 1908; conclusion; epilogue - inventing the "Post-Colonial".

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Book SynopsisThis innovative history of British art museums begins in the early 19th century. The National Gallery and the South Kensington Museum (now the Victoria and Albert Museum) in London may have been at the center of activity, but museums in cities such as Glasgow, Leeds, Liverpool, Manchester, and Nottingham were immensely popular and attracted enthusiastic audiences. The People's Galleries traces the rise of art museums in Britain through World War I, focusing on the phenomenon of municipal galleries. This richly illustrated book argues that these regional museums represented a new type of institution: an art gallery for a working-class audience, appropriate for the rapidly expanding cities and shaped by liberal ideals. As their broad appeal weakened with the new century, they adapted and became more conventional. Using a wide range of sources, the book studies the patrons and the publics, the collecting policies, the temporary exhibitions, and the architecture of these institutions, as well as the complex range of reasons for their foundation. Published for the Paul Mellon Centre for Studies in British ArtTrade Review“…comprehensive and exceptionally well-researched analysis... What Giles Waterfield’s book does, quietly and non-polemically, is to rescue the zeal and enthusiasm of those who opened great civic art museums from the condescension of art history.”— Charles Saumarez Smith, Literary Review -- Charles Saumarez Smith * Literary Review *“…a sophisticated work of scholarship that tells a detailed and fascinating story. As instructive and entertaining as the Victorian museums with which it is concerned, it will be an invaluable resource for many years to come.”—Susan Owens, TLS -- Susan Owens * TLS *

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Book SynopsisWilliam Hunter and the Anatomy of the Modern Museum accompanies a groundbreaking exhibition organized by the Hunterian at the University of Glasgow, in collaboration with the Yale Center for British Art, to celebrate the 2018 tercentenary of The Hunterian's founder, Dr. William Hunter (17181783). This publication is the first in 150 years to assess the contribution made by Hunter, the Scottish-born obstetrician, anatomist, and collector, to the development of the modern museum as a public institution. Essays examine how Hunter gathered his collection to be used as a source of knowledge and instruction, encompassing outstanding paintings and works on paper, coins and medals, and anatomical and zoological specimens. Hunter also possessed ethnographic artifacts from Spain, the Middle East, China, and the South Pacific, and was an avid collector of medieval manuscripts and incunabula; these were all located within one of the most important working libraries of eighteenth-century London. Published by the Yale Center for British Art in association with The HunterianExhibition Schedule:The Hunterian, Glasgow (09/28/1801/06/19)Yale Center for British Art (02/14/1905/20/19)Trade Review“There is, as the exhibition and [this] scholarly catalog demonstrate, a thread running through this collection, a way of thinking associated with the Enlightenment that led William Hunter to spend decades gathering artifacts and then specifying that they be housed in a posthumous museum.”—Edward Rothstein, Wall Street Journal“Hunter’s book, the subject of an essay by Mungo Campbell, is one of the most remarkable and also most beautiful medical publications of its time.” —Duncan Macmillan, The Art NewspaperLong listed for the Historians of British Art Book Prize

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Book SynopsisA strikingly original exploration of the profound impact of World War II on how we understand the art that survived itTrade ReviewAlfred H. Barr Jr. Award finalist, sponsored by College Art Association

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Book SynopsisA revealing look at ancient art in the Menil Collection that addresses the problem of objects lacking archaeological context This innovative anthology discusses a diversity of ancient Mediterranean objectsa Mesopotamian votive figure, a Egyptian relief from the New Kingdom, and a Greek Geometric fawn among themin the Menil Collection and three other US museums. It offers new models for understanding works from antiquity that lack archaeological context. Essays by 13 authors written with the layperson in mind employ a creative mixture of iconography, technical studies, and modern provenance research to gain insight into the meaning of the objects themselves and what they can teach us more broadly aboutarchaeology, art history, and collecting practices. They take on complex issues of cultural heritage, legality, and taste to bring to life works that are often consigned to either the imperial past or a conceptual limbo. Essays on related groups or single objects introduce fresh frameworks

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Book SynopsisMuseums can work to reproduce ideologies and confirm the existing order of things, or as instruments of social reform. Yet objects in museums can exceed their designated roles as documents or specimens. In this wideranging and original book, Michelle Henning explores how historical and contemporary museums and exhibitions restage the relationship between people and material things. In doing so, they become important sites for the development of new forms of experience, memory and knowledge. Henning reveals how museums can be theorised as a form of media. She discusses both historical and contemporary examples, from cabinets of curiosity, through the avant-garde exhibition design of Lissitzy and Bayer; the experimental museums of Paul Otlet and Otto Neurath; to science centres; immersive and virtual museums; and major developments such as Guggenheim Bilbao, Tate Modern in London and the National Museum of the American Indian in Washington D.C. Museums, Media and Cultural TheoryTable of ContentsSeries Editor's forewordIntroductionObjectDisplayMedia PublicArchive

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Book SynopsisHeritage, Photography, and the Affective Past critically examines the production, consumption, and interpretation of photography across various heritage domains, from global image archives to the domestic arena of the family album. Through original ethnographic and archival research, the book sheds new light on the role photography has played in the emergence, expansion, and articulation of heritage in diverse sociocultural contexts. Drawing on wide-ranging experience across the heritage sector and two international case studies â Angkor in Cambodia and the town of Famagusta, Cyprus â the book makes a major contribution to our understanding of the role photography has played and continues to play in shaping experiences and conceptualisations of heritage. One of the core aims of the book is to problematise and potentially redirect the varied usages of photography within current practice, usages which remain woefully undertheorised, despite their often-central role in shaping heritage. Ultimately, by focusing attention on a hitherto underexamined aspect of the heritage phenomenon, namely its manifold interconnections with photography, this book provides fresh insight to the making and remaking of the past in the present, and the alternative heritages that might come into being around emergent photographic forms and approaches.Heritage, Photography, and the Affective Past uses photography as a method of enquiry as well as a tool of documentation. It will be of interest to scholars and students of heritage, photography, anthropology, museology, public archaeology, and tourism. The book will also be a valuable resource for heritage practitioners working around the globe.Table of ContentsIntroduction: Critical Heritage and Photography 1. Memory 2. Site 3. Archive 4. Performance Conclusion: Uncertain Frames

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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 SynopsisMega-events have long been used by cities as a strategy to secure global recognition and attract future economic investment. However, while cultural mega-events like the European Capital of Culture have become increasingly popular, cities have begun questioning the traditional model of other events such as the Olympic Games with many candidate cities cancelling bids in recent years. This approach to planning and developing cities through mega-events introduces a broad range of physical effects and nuanced institutional changes for cities, particularly for the more sensitive heritage areas of cities. This book explores these issues by first examining the dynamics of cities' attempts to reduce overall costs and increase the sustainability of these large events by further embedding them within the existing fabric of the city and second by studying in depth the impact on the heritage of host cities. This book investigates three World Heritage Cities: Genoa, Liverpool and Istanbul, each Trade Review"A timely and well researched investigation of the rise of cultural mega-events within urban agendas, and of the opportunities and threats such events raise in heritage-rich European cities. The book reflects on experiences from the UK, Italy and Turkey and will be of interest to researchers, heritage experts, mega-event promoters and policy makers." – Franco Bianchini, Professor of Cultural Policy and Planning, Director of Culture, Place and Policy Institute (CPPI), University of Hull"Zachary Jones discloses an innovative perspective not only on cultural mega-events but also on their relationship with cultural heritage and what urban planning and policy can do with it. His book provides the readers with solid evidence and it envisions new paths for mega-event and heritage research and planning." – Davide Ponzini, Associate Professor of Urban Planning, Politecnico di Milano"Zachary Jones presents a diligently researched and clearly written analysis of an important new phenomenon – the cultural mega-event – and its contributions to urban development and heritage globally. His carefully framed spatial stories support analyses of the political and economic drivers of these events (Olympics, expos, cultural capitals) and foreground their substantial long-term effects. This book makes significant contributions to the literature on heritage, urban design and development, and placemaking."— Randall Mason, Associate Professor, Stuart Weitzman School of Design, University of Pennsylvania"Despite the clear potential for synergies and tensions to arise between cultural mega-events and the stewardship of built heritage, there has so far been a paucity of conceptually informed and empirically rich research on these issues. This book clearly addresses this gap in the state of our current knowledge by addressing how the hosting of such events may in some contexts be used as an opportunity to foster certain heritage objectives, whilst in others heritage may be a less central concern, or even be marginalised as something of a ‘poor relation’ in the wider cultural mega-event planning and hosting process. The book combines conceptual insights on these issues with engaging accounts of three emblematic cases of cities which have hosted the European Capital of Culture title – Genoa, Liverpool and Istanbul, to provide recommendations to decision makers on how to maximise the opportunities and minimise the threats presented by mega-events to heritage. It also provides a novel academic framework which can be used to elucidate these issues and in so doing significantly advances the present debate and scope for further research in the field." -- Olivier Sykes, Department of Geography and Planning, University of Liverpool Table of Contents1. Introduction: Mega-events and the city 2. The rise of cultural mega-events and shifting mega-event trends 3. Defining cultural mega-events and the mega-event process 4. The potential synergy between built heritage and mega-events 5. Genoa European Capital of Culture 2004: A cultural mega-event embedded within a strategic vision for heritage development 6. Liverpool European Capital of Culture 2008: A cultural mega-event within a strategic regeneration overlooking heritage 7. Istanbul European Capital of Culture 2010: Competing visions for heritage in a cultural mega-event 8. Key issues emerging from the overlap of heritage and mega-events 9. Conclusions: Considerations for future historic cities hosting mega-events Index

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Book SynopsisThis unique book presents an integrated approach to the chemistry of art materials, exploring the many chemical processes involved. The Chemistry and Mechanism of Art Materials: Unsuspected Properties and Outcomes engages readers with historical vignettes detailing examples of unexpected outcomes due to materials used by known artists. The book discusses artists' materials focusing on relevant chemical mechanisms which underlie the synthesis and deterioration of inorganic pigments in paintings, the ageing of the binder in oil paintings, and sulfation of wall paintings as well as the toxicology of these pigments and solvents used by artists. Mechanisms illustrate the stepwise structural transformation of a variety of art materials. Based on the author's years of experience teaching college chemistry, the approach is descriptive and non-mathematical throughout. An introductory section includes a review of basic concepts and provides conTable of ContentsChapter 1 Essential ConceptsChemical Bonding, Solubility, Properties of Solids,Hard and Soft Acids and BasesOxidation-ReductionChemical Reaction MechanismsExperimental Methods Used to Characterize Works of ArtChapter 2 Preparation of Inorganic PigmentsIntroductionBlack PigmentsAntimony BlackCarbon BlacksCobalt BlackIron Oxide, MagnetiteManganese BlackBlue PigmentsAzuriteCerulean BlueEgyptian BluePrussian BlueSmaltUltramarineVerdigrisBrown PigmentsIron (III) Oxide PigmentsLead DioxideGreen PigmentsChromium OxideHydrated Chromium Oxide, ViridianMalachite, see AzuriteParis GreenVerdigrisRed Pigmentsα-Cinnabar and VermilionRed LeadIron (III) Oxide, Hematiteα-Realgar, see OrpimentViolet PigmentsPigment Violet 14White PigmentsAntimony WhiteBarium WhiteLithoponeTitanium WhiteWhite LeadZinc WhiteZinc SulfideYellow PigmentsBismuth VanadateCadmium PigmentsCobalt YellowIron (III) OxideLead ChromateLead Tin Yellow type ILead Tin Yellow type IILead Monoxide, Litharge and MassicotLead Tin Antimonate, Naples YellowOrpimentTitanium YellowChapter 3 Silica, Silicates and AluminosilicatesIntroductionSilicaSilicatesPigment-Silicate InteractionsPottery GlazesAluminosilicatesChapter 4 Discoloration StoriesIntroductionSmaltRed LeadRealgarCinnabarHematiteChrome YellowSilverpointCadmium YellowBlackening of Pigments by H2SUltramarineAzurite and MalachiteMedieval PigmentsChapter 5 Toxicology of Art MaterialsIntroductionOrganicsMethylene ChlorideCarbon TetrachlorideTrichloroethylenen-HexaneN-MethylpyrrolidoneDiisocyanatesAlcohols, Glycols and Glycol EthersMineral SpiritsInorganicsLeadZinc, Cadmium and Mercury Familial PropertiesCadmiumMercurySilverArsenicChromiumChapter 6 Ageing of Oil PaintOxidative Degradation of Oil BinderMetal Soap formationChapter 7 Ageing of Wall PaintingsSecco and Fresco methodsReversal of SulfationDeposition of Water Soluble SaltsDegradation of Oil Binder

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Drawing on unique multi-arts, multi-city scholarly research, Understanding Audiences for the Contemporary Arts makes a timely and urgent contribution to debates about the place of arts and culture in contemporary society. The authors critically interrogate the challenges of access, diversity, privilege and responsibility in contemporary art. Asking who benefits from, pays for and consumes the arts, the book highlights fresh, forward-thinking audience and organisational attitudes that show the potential of live arts engagement to contribute to engaged citizenship. Complemented by comparative global analysis, the cutting-edge insights in this book are relevant for interdisciplinary researchers across audience studies and beyond. Enhanced by a new framework for the understanding audience engagement, the book is relevant to scholars, policymakers and reflective practitioners across the spectrum of arts and cultural industries management.Chapter 7 of this b

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Book SynopsisArchiving Cultures defines and models the concept of cultural archives, focusing on how diverse communities express and record their heritage and collective memory and why and how these often-intangible expressions are archival records. Analysis of oral traditions, memory texts and performance arts demonstrate their relevance as records of their communities.Key features of this book include definitions of cultural heritage and archival heritage with an emphasis on intangible cultural heritage. Aspects of cultural heritage such as oral traditions, performance arts, memory texts and collective memory are placed within the context of records and archives. It presents strategies for reconciling intangible and tangible cultural expressions with traditional archival theory and practice and offers both analog and digital models for constructing cultural archives through examples and vignettes.The audience includes archivists and other iTable of ContentsAcknowledgments; Introduction: A Cultural Archives; 1. Cultural Heritage, Archival Heritage; 2. The Anatomy of an Archival Record; 3. Oral Traditions and Memory Texts; 4. Carnival in the Archives: Performance as Record; 5. Memory, Community and Records; 6. In the Cultural Archives; Index

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Book SynopsisThis book examines the authentication of authenticity in heritage tourism by using a resilient smart systems approach. It discusses the emerging trends in cultural tourism and outlines, in a detailed manner, their significance in negotiating authenticity in tourism experience.Authentication of authenticity is an evolving, less-researched field of inquiry in heritage tourism. This book advances research on this subject by exploring different authentication processes and scrutinizes their resilience in building transformative heritage tourism pathways. It offers a kaleidoscopic view of the manner authenticity has evolved over the last several decades by observing a broad spectrum of cultural expressions. The evolution and meaningfulness of negotiated authenticity is identified and discussed in the context of pre-, intra- and post-pandemic times. This book focuses on the moral and existentialist trajectories or authenticity and the notion of self-authentication. It pTable of Contents1. Introduction 2. Negotiated Authenticity and its Vulnerability 3. The Authentication and its Authenticating Process 4. Information and Communication Technology and Digitalization in Heritage Tourism 5. Smart and Sustainable Marketing Frameworks for Heritage Tourism 6. Negotiated Authentication of Heritage Accommodations 7. Negotiated Authentication of Homestay Tourism 8. Negotiating Authentication of Nation Branding and Heritage Tourism 9. Negotiated Authentication of Museums 10. Negotiated Authentication of Ethnic Cuisines 11. Negotiated Authentication of Heritage Souvenirs 12. Conceptualizing a Smart Resilient Negotiated Authentication System in Transformative Times

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

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

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Book SynopsisThe Routledge Handbook of Heritage Destruction presents a comprehensive view on the destruction of cultural heritage and offers insights into this multifaceted, interdisciplinary phenomenon; the methods scholars have used to study it; and the results these various methods have produced.By juxtaposing theoretical and legal frameworks and conceptual contexts alongside a wide distribution of geographical and temporal case studies, this book throws light upon the risks, and the realizations, of art and heritage destruction. Exploring the variety of forces that drive the destruction of heritage, the volume also contains contributions that consider what forms heritage destruction takes and in which contexts and circumstances it manifests. Contributors, including local scholars, also consider how these drivers and contexts change, and what effect this has on heritage destruction, and how we conceptualise it. Overall, the book establishes the importance of the need to study Table of Contents1. A path well worn? Approaches for the old problem of heritage destruction; Part 1 Understanding Destruction -- 2. Heritage Destruction in Conflict; 3. Talking about Heritage Destruction in Market Countries; 4. Destruction of Cultural Heritage in Peacetime and International Law; 5. Development of the Law of Armed Conflict as Applied to Cultural Heritage; 6. Heritage Destruction and Human Rights; 7. Heritage Destruction and Genocide: Legal Resistance, Conceptual Resiliency; 8. Methods, Motivations, and Actors: A Risk-based Approach to Heritage Destruction and Protection; Part 2 Interpretations of Destruction – 9. Heritage Destruction, Natural Disasters, and the Environment: Geological Disasters; 10. Heritage Destruction, Natural Disasters, and the Environment: Atmospheric Disasters; 11. Flooded Heritage: The Impact of Dams on Archaeological Sites; 12. On Destruction in Art and Film; 13. Between Heritage and the Readymade—the Imminent Aesthetic of Ai Weiwei; 14. Heritage Predation and the Pursuit of Politics; 15. Post-conflict Recovery Challenges: Affect and Heritage in Post-conflict Cyprus and Italy; 16. Media Narratives, Heritage Destruction, and Universal Heritage: A Case Study of Palmyra; 17. Collateral Damage: The Negative Side Effects of Protecting Cultural Heritage in Conflict Related Situations; 18. Turning Destruction into an Opportunity: Understanding the Construction of Timbuktu’s ‘success story’ by UNESCO; 19. Heritage Destruction from a Humanitarian Perspective; Part 3 Expressions of Destruction -- 20. Cultural Property Destruction and Damage in Two World Wars; 21. Heritage Destruction and its Impact in Scandinavia and the Baltic Region during the Second World War; 22. Case Study: The Wars of Yugoslav Succession; 23. Cambodia: Gods Threatened by the Art Market and Warfare; 24. Destruction of Cultural Heritage in Times of Conflict: The Case of Syria; 25. Iraq: Creative Destruction and Cultural Heritage in the Warscape; 26. Iraqi and Syrian Responses to Heritage Destruction under the Islamic State: Genocide, Displacement, Reconstruction, and Return; 27. Heritage Destruction in the Caucasus with a Specific Focus on the Armenia-Azerbaijan Conflict; 28. Weaponised Heritage: Urbicide by Construction and Destruction in Nablus, Palestine; 29. What is Happening to Egyptian Heritage? The Case of Privately-owned Buildings; 30. Destruction, Development, and Heritage in Melbourne: SX Towers, Southern Cross Hotel, Eastern Market; 31. Case Study: The destruction of Australian Aboriginal Heritage and its Implications for Indigenous Peoples Globally; 32. Destruction of Heritage in Latin America; Part 4 Transformations – 33. Reconsidering Heritage Destruction and Sustainable Development in a Long-Term Perspective.

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Book SynopsisThis comprehensive history of the Museum of London traces the ways that the relationship between Britain and its imperial past has changed over the course of three decades, providing a holistic approach to galleries' shifts from Victorian nostalgia to equitable representations.At its 1976 opening, the Museum of London differed from other museums in its treatment of empire and colonialism as central to its galleries. In response to the public's evolving social and political attitudes, the museum's 19931994 The Peopling of London' exhibition marked a new approach in creating inclusive displays, which explore the impact of immigration and multiculturalism on British history. Through photos, planning documents, and archival research, this book analyses museums' role in enacting change in the public's understanding of history, and this book is the first to critically engage with the Museum of London's theme of empire, particularly in consideration of recent exhibitions.Table of ContentsPart 1: The Origin Story 1826-1976 1. Introduction: Museums and Empire 2. Prelude to the Museum of London, its origins in the Guildhall and London Museums 1826-1976 3. Empire at the Museum of London, 1976 Part 2: The ‘Peopling of London’ 1993-1994 4. The ‘Peopling of London’ 1989-1993 Concept and Approach 5. The ‘Peopling of London’ 1993-1994 Exhibition and Displays 6. The ‘Peopling of London’ Catalogue and Educational Resources Part 3: Reception and Legacy of ‘Peopling’ 1994-2007 7. Understanding Visitor Responses 8. The Spirit of ‘Peopling’ 1993-2007, Legacies and Echoes 9. Conclusion

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Book SynopsisA comprehensive review of policy and practice in the historic environment, this book exposes the tensions, challenges and difficulties faced by the heritage sector at a time of political volatility.This collection comes at a key moment for planning policy in the historic environment of England. The papers reflect a wide range of views and experience in the practical environment of policy and implementation. Contributors give perspectives on both policy and practice from legal counsel to local authorities, from the country's largest NGO to the museums sector. Some conclusions are controversial, providing an important insight into the operation of national and local government. The thrust of the volume is the need to close the gap between research and policy production. Written when the UK government's White Paper, Planning for the Future (August 2020), was in preparation, the chapters explore the implementation of policy, its unexpected and unanticipated outcomesTable of ContentsIntroduction: Engaging with Policy in England - Agency, Interpretation and ImplementationHana Morel and Michael Dawson1. Power of Place - Heritage Policy at the Start of the New MillenniumKate Clark2. Principles into Policy: Assessing the Impact of Conservation Principles in Local Planning PolicyGill Chitty and Claire Smith3. The Disconnect between Heritage Law and Policy: How Did We Get Here and Where are We Going? Nigel Hewitson4. Heritage Assets: Decision Making in the Real WorldPeter Goatley and Nina Pindham5. It’s Not Mitigation! Policy and Practice in Development-Led Archaeology in EnglandRoger Thomas 6. Borderlands: Rethinking Archaeological Research FrameworksPaul Belford7. Archaeology, Conservation and Enhancement: The Role of Viability in the UK Planning SystemDan Phillips8. For Everyone?: Finding a Clearer Role for Heritage in Public Policy-makingGeorgina Holmes-Skelton9. Always on the Receiving End? Reflections on Archaeology, Museums and Policy Gail Boyle10. Historic Environment Policy: The View from a Planning DepartmentChris Patrick11. The Heritage-creation Process and Attempts to Protect Buildings of the Recent Past: The Case of Birmingham Central LibraryMatt Belcher, Michael Short and Mark Tewdwr-Jones12. Pathways to Engagement: The Natural and Historic Environment in EnglandHana Morel and Victoria Bankes Price

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Book SynopsisThe word conservation, when used in the context of the preservation of built heritage, implies an intrinsically complex concept that evolved over time, since it has been influenced by the perception of history throughout time. This volume emphasises why an understanding of the cultural evolution of the conservation approach must be considered a prerequisite for architects and engineers if they are to cooperate in full harmony with historic-artistic culture for the preservation of global built heritage.In particular, the volume highlights how, during the second half of the last century, the preservation process also involved engineering â the science of making practical applications of knowledge â which, for a long time, made an uncritical use of techniques and materials and devised interventions on historical heritage that were heavily invasive. The volume also devotes special attention to the problems related to seismic risk, to which Italy, Greece and Portugal are paTable of Contents A brief history of conservation Conservation and restoration in Europe Construction in antiquity Heritage conservation Traditional and innovative materials Seismic risk from emergency to reconstruction Constructive restoration

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Book SynopsisMuseums and Well-being outlines the historical development of well-being within museums and offers a critical engagement with this field from a museum studies perspective. The essential thesis of the book is that well-being is a collective action.The book utilises the Five Ways to Well-being as a model: Connect, Be Active, Keep Learning, Give and Take Notice. Each of these Ways are explored through a specific museum object illustrating the important role collections can play in museum well-being. The book considers how museum well-being, and the austerity project became entwined, and how the COVID-19 pandemic supercharged growth in this field. The book explores such diverse topics as walking, slow art, social capital, Virginia Woolf, body positivity, collective joy, identity, art therapy, yoga, Squid Game, Effective Altruism, mindfulness, gift exchange, the Preston model, the limits of data, sketching, photography, inclusive spaces, and workplace well-being. The bookTable of Contents01 Introduction; 02 Why Well-being Now?; 03 Museums as Spaces of Well-being; 04 Work and the Limitations of Well-being; 05 Introduction to the Five Ways to Well-being Toolkit; 06 Connect; 07 Be Active; 08 Keep Learning; 09 Give; 10 Take Notice; 11 Conclusion: So where to start?; Index.

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Book SynopsisExhibitions as Research contends that museums would be more attractive to both researchers and audiences if we consider exhibitions as knowledge-in-the-making rather than platforms for disseminating already-established insights. Analysing the theoretical underpinnings and practical challenges of such an approach, the book questions whether it is possible to exhibit knowledge that is still in the making, whilst also considering which concepts of knowledge apply to such a format. The book also considers what the role of audience might be if research is extended into the exhibition itself. Providing concrete case studies of projects where museum professionals have approached exhibition making as a knowledge-generating process, the book considers tools of application and the challenges that might emerge from pursuing such an approach. Theoretically, the volume analyses the emergence of exhibitions as research as part of recent developments within materialitTable of ContentsIntroduction: Exhibitions as research - Peter BjerregaardPart I Cross-disciplinary collaboration Chapter 1 Sketches for a methodology on exhibition research - Henrik TreimoChapter 2 Joining transdisciplinary forces to revive the past: Establishing a Viking Garden at the Natural History Museum, Oslo - Anneleen Kool and Axel Dalberg PoulsenChapter 3 Ethnography, exhibition practices and undiscipined encounters: The generative work of amulets in London - Nathalia Brichet and Frida HastrupPart II Sensing knowledgeChapter 4 Exhibitions as philosophical carpentry: On object-oriented exhibitio- making - Adam BencardChapter 5 Museum objects in the marketplace - Kari K. AarrestadChapter 6 Exhibition-making as aesthetic enquiry - Peter BjerregaardChapter 7 Object-spaces? Sensory engagements and museum experiments - Elizabeth Hallam Part III Collaborating with audiencesChapter 8 Exhibitions, engagement and provocation: From Future Animals to Guerilla Archaeology - Jacqui MulvilleChapter 9 Developing and promoting research in a museum thirdspace: Breaking barriers where people walk - Ellen T. Bøe, Hege I. Hollund, Grete Lillehammer, Bente Ruud, Paula U. SandvikChapter 10 Visitor dialogue and participation as knowledge generating practices in exhibition work: What can museum experts learn from it? - Guro JørgensenChapter 11 How the exhibition became co-produced: Attunement and participatory ontologies for museums - Helen Graham

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Book SynopsisWhile much has been achieved in understanding and managing weather effects and erosion phenomena affecting ancient imagery within the relatively protected environments of caves and rock-shelters, the same cannot be said of rock-art panels situated in the open-air. Despite the fact that the number of known sites has risen dramatically in recent decades there are few examples in which the weathering and erosion dynamics are under investigation with a view to developing proposals to mitigate the impact of natural and cultural processes. Most of the work being done in different parts of the world appears to be ad-hoc, with minimal communication on such matters between teams and with the wider archaeological community. This richly illustrated book evaluates rock-art conservation in an holistic way, bringing together researchers from across the world to share experiences of work in progress or recently completed. The chapters focus on a series of key themes: documentation prTable of Contents1. Introduction Timothy Darvill and António Pedro Batarda Fernandes 2. Approaches to the Conservation and Management of Open-Air Rock-Art Panels in England, United Kingdom Timothy Darvill 3. The Preservation and Care of Rock-Art in Changing Environments: A View from Northeastern England, United Kingdom Myra J. Giesen, Aron D. Mazel, David W. Graham, and Patricia B. Warke 4. Pride and Prejudice: The Challenges of Conserving and Managing Rock Art in the Landscape of Northern England, United Kingdom, Through Public Participation Kate E. Sharpe 5. Irish Open-Air Rock-Art: Issues of Erosion and Management Elizabeth Shee Twohig and Ken Williams 6. The Open-Air Rock-Art Site at Leirfall, Central Norway, Within the Context of Northern Scandinavian Rock-Art Conservation and Management Practices Over the Past 50 Years Elizabeth E. Peacock, Eva Lindgaard, Kalle Sognnes, Roar Sæterhaug, and Gordon Turner-Walker 7. Experiences Documenting Petroglyphs at Lake Onega, Russia, 1998–2012 Nadezhda V. Lobanova 8. ‘Preservation by Record’: The Case from Eastern Scandinavia Liliana Janik 9. Aspect and Rock-Art Conservation: Preliminary Meteorological Data Regarding the Côa Valley, Portugal, Open-Air Rock-Art Complex António Pedro Batarda Fernandes 10. Lonely Stones: Preservation of Megalithic Art in the Iberian Peninsula Fernando Carrera Ramírez 11. The Conservation of Spanish Levantine Rock-Art in Aragón, Spain, Using 3-D Laser Scanning Manuel Bea and Jorge Angás 12. Conservation Programs in Chaco Cultural National Historical Park, USA: Outgrowths and Consequences of Recording Projects Jane Kolber and Donna Yoder 13. Managing Chaos: Vandalism Rock-Art at the Okotoks Erratic, Alberta, Canada Jack W. Brink 14. The Conservation Diagnostic Processes in Columbian Rock-Art Research Guillermo Muñoz and Judith Trujillo 15. Conservation of Rock-Art Sites in Northeast Brazil Maria Conceição Soa

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Book SynopsisThis collection provides an in-depth and up-to-date examination of the concept of Intangible Cultural Heritage and the issues surrounding its value to society. Critically engaging with the UNESCO 2003 Convention for the Safeguarding of the Intangible Cultural Heritage, the book also discusses local-level conceptualizations of living cultural traditions, practices and expressions, and reflects on the efforts that seek to safeguard them. Exploring a global range of case studies, the book considers the diverse perspectives currently involved with intangible cultural heritage and presents a rich picture of the geographic, socioeconomic and political contexts impacting research in this area. With contributions from established and emerging scholars, public servants, professionals, students and community members, this volume is also deeply enhanced by an interdisciplinary approach which draws on the theories and practices of heritage and museum studies, anthropology, folklore stuTrade Review"It is a most welcome addition to literature, and a must-have for all who want to deepen their understanding of the scholarly research into and safeguarding practice of Intangible Cultural Heritage. (...) With the publication of this Routledge Companion, Intangible Cultural Heritage has certainly reached a new level of scholarly recognition. And that is a very good thing."- Steven Engelsman, Director, Weltmuseum Wien, Austria"The Routledge Companion to Intangible Cultural Heritgae provides asnapshop- or rather, a whole picture album- of the evolution of a profoundly important cultural policiy and paradigm[...] The editors have assembled here a massive and varied set of essays- 38 individual chapters written by 54 authors, including anthropologists, folklorists, legals scholars, museum professionals, ethomusicologists, and community members."- Michael Dylan Foster, University of California, USATable of ContentsIntroduction Michelle Stefano and Peter DavisA Decade Later: Critical Reflections on the UNESCO-ICH Paradigm1. Development of UNESCO’s 2003 Convention: Creating a New Heritage Protection Paradigm? Janet Blake2. The Examination of Nomination Files under the UNESCO Convention for the Safeguarding of the Intangible Cultural Heritage Rieks Smeets and Harriet Deacon3. A Conversation with Richard Kurin4. Placing Intangible Cultural Heritage, Owing a Tradition, Affirming Sovereignty: the Role of Spatiality in the Practice of the 2003 Convention Chiara Bortolloto5. Is Intangible Cultural Heritage an Anthropological Topic? Towards Interdisciplinarity in France Christian Hottin and Sylvie Grenet6. The Impact of UNESCO’s 2003 Convention on National Policy-making: Developing a New Heritage Protection Paradigm? Janet BlakeReality Check: The Challenges Facing ICH Safeguarding7. From the Bottom Up: the Identification and Safeguarding of Intangible Cultural Heritage in Guyana Aron Mazel, Gerard Corsane, Raquel Thomas and Samantha James8. Making the Past Pay? Intangible (Cultural) Heritage in South Africa and Mauritius Rosabelle Boswell9. A Conversation with Yelsy Hernández Zamora on Intangible Cultural Heritage in Cuba10. The Management of Intangible Cultural Heritage in China Tracey L-D Lu11. Ageing Musically: Tangible Sites of Intangible Cultural Heritage Bradley Hanson12. Intangible Cultural Heritage in the Czech Republic: Between National and Local Heritage Petr Janeček13. Damming Ava Mezin: Challenges to Safeguarding Minority Intangible Cultural Heritage in Turkey Sarah Elliott14. Documenting and Safeguarding Intangible Cultural Heritage: the Experience in Scotland Alison M

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Book SynopsisA stunning visual game that helps readers enjoy, appreciate, and identify great works of art.

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Book SynopsisFor more than ten years, the Science for Conservators series has been the key basic texts for conservators throughout the world. Scientific concepts are basic ot the conservation of artefacts of every type, yet many conservators have little or no scientific training. These introductory volumes provide non-scientists with the essential theoretical background to their work.Table of ContentsChapter One The Nature of Dirt Chapter Two Mechanical Cleaning Chapter Three Liquids and Solutions Chapter Four Organic Solutions Chapter Five Cleaning With Water Chapter Six Water, Acidity and Alkalinity Chapter Seven Cleaning By Chemical Reaction

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Book SynopsisOn Collecting examines the nature of collecting both in Europe and among people living within the European tradition elsewhere.Susan Pearce looks at the way we collect and what this tells us about ourselves and our society. She also explores the psychology of collecting: why do we bestow value on certain objects and how does this add meaning to our lives? Do men and women collect differently? How do we use objects to construct our identity?This book breaks new ground in its analysis of our relationship to the material world.Trade Review'Pearce successfully documents the continuity of object accumulation in the European pursuit of knowledge and identifies "a willingness to speak with things" as its central expressive theme.' - Steve Chibnall, De Montfort UniversityTable of ContentsList of Plates List of figures Acknowledgements Preface Part One: Collecting Processes Part Two: Collecting in Practice Part Three: Collecting Poetics Part Four: The Politics of Collecting Part Five: Collecting in the European Tradition Bibliography Index

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Book SynopsisThis is a multi-disciplinary study that adopts an innovative and original approach to a highly topical question, that of meaning-making in museums, focusing its attention on pedagogy and visual culture.This work explores such questions as: How and why is it that museums select and arrange artefacts, shape knowledge, construct a view? How do museums produce values? How do active audiences make meaning from what they experience in museums? This stimulating book provokes debate and discussion on these topics and puts forward the idea of a new museum - the post-museum, which will challenge the familiar modernist museum. A must for students and professionals in the field.Table of Contents1 Culture and meaning in the museum 2 Picturing the ancestors and imagining the nation: the collections of the first decade of the National Portrait Gallery London 3 Speaking for herself? Hinemihi and her discourses, 4 Words and things: constructing narratives, constructing the self, 5 Objects and interpretive processes, 6 Exhinitions and interpretation: museum pedagogy and cultural change, 7 The rebirth of the museum.

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Book SynopsisThe influence of digital media on the cultural heritage sector has been pervasive and profound. Today museums are reliant on new technology to manage their collections. They collect digital as well as material things. New media is embedded within their exhibition spaces. And their activity online is as important as their physical presence on site. However, âdigital heritageâ (as an area of practice and as a subject of study) does not exist in one single place. Its evidence base is complex, diverse and distributed, and its content is available through multiple channels, on varied media, in myriad locations, and different genres of writing.It is this diaspora of material and practice that this Reader is intended to address. With over forty chapters (by some fifty authors and co-authors), from around the world, spanning over twenty years of museum practice and research, this volume acts as an aggregator drawing selectively from a notoriously distributed network of content. Divided into seven parts (on information, space, access, interpretation, objects, production and futures), the book presents a series of cross-sections through the body of digital heritage literature, each revealing how a different aspect of curatorship and museum provision has been informed, shaped or challenged by computing.Museums in a Digital Age is a provocative and inspiring guide for any student or practitioner of digital heritage.Trade Review“Museums in a Digital Age is thus a timely consideration of the role of the digital in the entire spectrum of museum activities…The…volume is…something much more attuned to the digital age which is its basis – a highly diverse, even eclectic, collection of papers broadly centred around the subject of the work.” – Historic Environment Table of Contents1. The practice of digital heritage and the heritage of digital practice, Ross Parry Part 1: Information: data, structure and meaning Introduction to Part 1, Ross Parry 2. A brief history of museum computerisation, David Williams 3. The changing role of information professionals in museums, Andrew Roberts 4. What is information in the museum context? Elizabeth Orna and Charles Pettitt 5. The world of (almost) unique objects, Robert Chenhall and David Vance 6. Standards for networked cultural heritage, David Bearman 7. Database as symbolic form, Lev Manovich 8. The museum as information utility, George Macdonald and Stephen Alsford 9. Museum collections, documentation and shifting knowledge paradigms, Fiona Cameron 10. Semantic dissonance: do we need (and do we understand) the Semantic Web? Ross Parry, Nick Poole and Jon Pratty 11. Building a universal digital memory, Piere Lèvy Part 2: Space: visits, virtuality and distance Introduction to Part 2, Ross Parry 12. On the Origins of the Virtual Museum, Erkki Huhtamo 13. From Malraux's imaginary museum to the virtual museum, Antonio M. Battro 14. Virtual spaces and museums, Andrea Bandelli 15. The virtual visit: towards a new concept for the electronic science centre, Roland Jackson 16. Empowering the remote visitor, Areti Galani and Matthew Chalmers 17. Museums outside walls: mobile phones and the museum of the everyday, Konstantinos Arvanitis Part 3: Access: ability, usability and connectivity Introduction to Part 3, Ross Parry 18. Access to digital heritage in Africa: bridging the digital divide, Lorna Abungu 19. My dream of an accessible Web culture for disabled people, Carey, Kevin 20. My dream of an accessible Web culture for disabled people: a re-evaluation, Carey, Kevin 21. Implementing a holistic approach to e-learning accessibility, Brian Kelly, Lawrite Phipps and Caro Howell 22. Usability Evaluation for Museum Web Sites, Danial Cunliffe, Efmorphia Kritou and Douglas Tudhope 23. Culture as a Driver of Innovation, Ranjit Makkuni Part 4:Interpretation: communication, interactivity and learning Introduction to Part 4, Ross Parry 24. The Web and the Unassailable Voice, Peter Walsh 25. When the object is digital: properties of digital surrogate objects and implications for learning, Olivia C. Frost 26. Learning by doing and learning through play, Maria Roussou 27. Misconstruing Interaction, Christian Heath and Dirk Vom Lehn 28. Visitors’ use of computer exhibits: findings from 5 grueling years of watching visitors getting it wrong, Ben Gammon Part 5:Object: authenticity, authority and trust Introduction to Part 5, Ross Parry 29. Museums and virtuality, Klaus Miller 30. When all you’ve got is ‘The Real Thing’: museums and authenticity in the networked world, Jennifer Trant 31. Authenticity and integrity in the digital environment: an exploratory analysis of the central role of trust, Clifford Lynch 32. Why Museums Matter, Marc Pachter 33. Defining the problem of our vanishing memory: background, current status, models for resolution, Peter Lyman and Howard Besser 34. Curating new media, Matthew Gansallo Part 6: Delivery: production, evaluation and sustainability Introduction to Part 6, Ross Parry 35. Managing new technology projects in Museums and Galleries, Matthew Stiff 36. Rationale for Digitization and Preservation, Paul Conway 37. Speaking for themselves: new media and ‘Making of the Modern World, Frank Colson and Jean Colson 38. The evaluation of museum multimedia applications: lessons from research, Maria Economou 39. A survey on digital cultural heritage initiatives and their sustainability concerns, Diane M. Zorich Part 7: Futures: priorities, approaches and aspirations Introduction to Part 7, Ross Parry 40. Making the total museum possible, Tomislav Šola 41. Museums in the information era: cultural connectors of time and space, Manuel Castells 42. The shape of things to come: museums in the technological landscape, Simon Knell 43. Digital heritage and the rise of theory in museum computing, Ross Parry

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