Museology and heritage studies Books

Book SynopsisAn International Study of Film Museums examines how cinema has been transformed and strengthened through museological and archival activities since its origins and asks what paradoxes may be involved, if any, in putting cinema into a museum. Cere explores the ideas that were first proposed during the first half of the twentieth century around the need to establish national museums of cinema and how these have been adapted in the subsequent development of the five case studies presented here: four in Europe and one in the USA. The book traces the history of the five museums'' foundation, exhibitions, collections, and festivals organised under their aegis and it asks how they resolve the tensions between cinema as an aesthetic artefact  now officially recognised as part of humanity''s cultural heritage  and cinema as an entertainment and leisure activity. It also gives an account of recent developments around unifying collections, exhibition activitiesTrade Review"In The Love of Cinema, Rinella Cere provides a fascinating account of the various and sometimes conflicting impulses, interests and policies behind the development of film museums as sites for the presentation of cinema’s history and heritage. While some museums have been primarily devoted to preserving the technologies for film production and exhibition, others like the Cinémathèque Française have seen their principal role as being the acquisition, preservation and display of films of the past. Still others have sought to curate the social history of cinema and its audiences, while the critics of film museums – among them Francois Truffaut and Joseph Losey – have seen them as futile attempts "to preserve a transient art," no more than "a gimmick for tourists." The Love of Cinema explores the diverse conceptions of what a film museum might be and the motives and personalities of the dedicated individuals who created five of the world’s leading film museums, largely without state support or public funding, in France, Britain, Italy, Catalonia and the US. In the breadth of its coverage and its illuminating detail, Cere’s work demonstrates how our understanding of cinema’s archaeology and evolution has been deepened by the archival and museological activities of the institutions she examines." – Richard Maltby, Flinders University, South Australia"An important work on the world of the film museum based on original research on institutions including the Cinémathèque Française, Britain’s National Science and Media Museum, and the George Eastman Museum in the United States, and key individuals such as Ernest Lindgren and Henri Langlois. Dr Cere deftly combines accounts of the historical development of her case studies with critical reflection on the different and contrasting notions of the film museum embodied in their practices. The cultural enterprise of establishing an institution incorporating a film archive, physical apparatuses such as cameras and projectors, and the numerous forms of documentation (studio records, memoirs) relevant to the cinema, is a complex process and Dr Cere’s work reveals the ways in which it has been interpreted in different ways in different countries with different film heritages." – Tom Ryall, Sheffield Hallam University, UK"In An International Study of Film Museums, Rinella Cere provides a fascinating account of the various and sometimes conflicting impulses, interests and policies behind the development of film museums as sites for the presentation of cinema’s history and heritage. While some museums have been primarily devoted to preserving the technologies for film production and exhibition, others like the Cinémathèque Française have seen their principal role as being the acquisition, preservation and display of films of the past. Still others have sought to curate the social history of cinema and its audiences, while the critics of film museums – among them Francois Truffaut and Joseph Losey – have seen them as futile attempts "to preserve a transient art," no more than "a gimmick for tourists." The Love of Cinema explores the diverse conceptions of what a film museum might be and the motives and personalities of the dedicated individuals who created five of the world’s leading film museums, largely without state support or public funding, in France, Britain, Italy, Catalonia and the US. In the breadth of its coverage and its illuminating detail, Cere’s work demonstrates how our understanding of cinema’s archaeology and evolution has been deepened by the archival and museological activities of the institutions she examines." – Richard Maltby, Flinders University, South Australia"An important work on the world of the film museum based on original research on institutions including the Cinémathèque Française, Britain’s National Science and Media Museum, and the George Eastman Museum in the United States, and key individuals such as Ernest Lindgren and Henri Langlois. Dr Cere deftly combines accounts of the historical development of her case studies with critical reflection on the different and contrasting notions of the film museum embodied in their practices. The cultural enterprise of establishing an institution incorporating a film archive, physical apparatuses such as cameras and projectors, and the numerous forms of documentation (studio records, memoirs) relevant to the cinema, is a complex process and Dr Cere’s work reveals the ways in which it has been interpreted in different ways in different countries with different film heritages." – Tom Ryall, Sheffield Hallam University, UK"Matters that run as a red thread through all the chapters include the relationship between archives/cinematheques and museums, the interplay between permanent collections and temporary exhibitions, the ratio between displaying technology and artefacts related to films and stars, the inclusion of photography and television, the integration of educational and research functions, the reconciling of museum and memorial, as well as matters of who gets credit and how. As this is a primarily historical study, I appreciated Cere’s consistent investigation of the relationship of various museums with FIAF, the international organisation of film archivists." - Dina Iordanova, University of St Andrews, UKTable of ContentsIntroduction; Chapter 1 The birth of the museum of Cinema; Chapter 2 The National Science and Media Museum; Chapter 3 Who is guarding the treasures now? The Cinémathèque Française-Musée du Cinéma; Chapter 4 ‘Thought of a museum of cinema’: The Museo Nazionale del Cinema in Turin; Chapter 5 The Museu del Cinema in Girona, Catalonia; Chapter 6 Eastman House: An international museum of photography and cinema; Conclusion

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Book SynopsisPreventive Conservation in Museums makes available and comprehensible the diverse literature and ideas of preventive conservation to an audience with a limited scientific background, principally those studying museum studies or engaged in the museum profession. It bridges the gap between the basic museum generated literature and technical and detailed conservation literature. The area of preventative conservation has developed greatly in recent years and has adopted a far more holistic approach. The development of the concepts of risk analysis, management of conservation and how preventative conservation relates to the importance of traditional beliefs and approaches to artefacts have all made an impact on the subject in recent years along with the advance of instrumentation over the last thirty years. The next generation of ideas that will affect preventive conservation practice are just starting to emerge, including: detailed modelling of the environments of buildiTable of ContentsPart I: Holistic Approach to Preventive Conservation Part II: Agents of Deterioration II.1 Physical forces (handling, moving) and Security II.2 Fire & Water (disaster) II.3 Pests II.4 Contaminants (gasses, dust) II.5 Radiation (light) II.6 Temperature & Relative Humidity Part III: Managing Preventive Conservation III.1 Environmental Management III.2 Ethical Considerations III.3 All Together Now III.4 Preventive Conservation: The Future

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Book SynopsisDisplaced Things in Museums and Beyond looks anew at the lives, effects and possibilities of things. Starting from the perspectives of things themselves, it outlines a particular, displacement approach to the museum, anthropology and material culture.The book explores the ways in which the objects are experienced in their present, displaced settings, and the implications and potentialities they carry. It offers insights into matters of difference and the hope that may be offered by transformative encounters between persons and things. Drawing on anthropological studies of ritual to conceptualise and examine displacement and its implications and possibilities, Dudley develops her arguments through exploration of displaced objects now in museums and dislocated or exiled from their prior geographical, historical, cultural, intellectual and personal contexts. The bookâs approach and conclusions are relevant far beyond the museum, showing that even in the most difficult of circumstances there is agency, distinction and dignity in the choices and impacts that are made, and that things and places as well as people have efficacy and potency in those choices. In Displaced Things, displacement emerges as fundamental to understanding the lives of things and their relationships with human beings, and the places, however defined, that they make and pass within. The book will be essential reading for academics and students engaged in the study of museums, heritage, anthropology, culture and history.Table of ContentsPrologue; Part I Departures; Chapter 1 Displaced things; Chapter 2 Separating things; Part II Liminal things; Chapter 3 Representational things; Chapter 4 Subjunctive things; Chapter 5 Hopeful things;

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Book SynopsisExamines European museums’ efforts to investigate colonialism as part of an unprocessed past, confront its presence, and urge repair. The book shows how museums can help visitors mourn historic violence and identify the contemporary agents, beneficiaries, victims, survivors, and resisters of colonial presence.

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

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

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

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Book SynopsisThree Centuries of American Art in 1938 was the Museum of Modern Art's first international exhibition. With over 750 artworks on view in Paris ranging from seventeenth-century colonial portraits to Mickey Mouse and spanning architecture, film, folk art, painting, prints, and sculpture, it was the most comprehensive display of American art to date in Europe and an important contributor to the internationalization of American art. MoMA Goes to Paris in 1938 explores how, at a time when the concept of artworks as masterpieces was very much up for debate, the exhibition expressed a vision of American art and culture that was not only an art historical endeavor but also a formulation of national identity. Caroline M. Riley demonstrates in what ways, at the brink of international war in the politically turbulent 1930s, MoMA collaborated with the US Department of State for the first time to deploy works of art as diplomatic agents.Trade Review"A detailed account of the many contingencies and the vast efforts, planning and negotiation required to stage an exhibition, particularly one on this scale and with an international venue. . . . An impressively thorough account." * Early Popular Visual Culture * "Riley’s contribution to the new scholarship on MoMA is timely and important to understanding the specific impact of the museum’s exhibition program on art history." * Panorama *"This well-researched and richly illustrated book significantly contributes to stress the centrality of museum studies within art and cultural history. Most importantly, it calls attention to the transnational character of ‘national’ imaginaries and the inherent reflexive nature of any cultural practice." * European Review of History: Revue européenne d'histoire *Table of ContentsContents Acknowledgments Introduction 1. What Was Three Centuries of American Art? 2. Loaning across Oceans: Symbolism, Risk, and Value 3. Creating a Contemporary American Art History across Centuries 4. Art on Paper Conclusion Appendix: Tables of Artworks Included in Three Centuries of American Art List of Abbreviations Notes Selected Bibliography List of Illustrations Index

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

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

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Book SynopsisThe international controversy over who owns antiquities has pitted museums against archaeologists and source countries where ancient artifacts are found. This book assembles preeminent museum directors, curators, and scholars to explain for themselves what's at stake in this struggle - and why the museums' critics couldn't be more wrong.Trade Review"In this new collection of essays, Cuno has also assembled a group of broadly like-minded colleagues, both museum curators and academics, all of whom affirm, from a variety of perspectives, why great encyclopaedic collections can, and ought, to exist... [The volume] marks an important advance. After an uncertain, not to say timorous, few decades, the leadership of at least some of our major institutions has found its voice. More than that, it has rediscovered something approaching a set of shared values--and, as Whose Culture? makes clear, it is ready to take on all comers in their defence."--John Adamson, Standpoint Magazine "[Cuno] has emerged as the champion of museums who want to keep their holdings--and not a moment too soon... Cuno speaks the cosmopolitan language of cultural pluralism. The other side, insisting that art remain where it happened to be found, deploys the rhetoric of jealous nationalism in the service of government. Culture matters more than concocted national pride, as curators and museum directors know. At last they're re-asserting their principles, after an embarrassing period of passivity and pusillanimity."--Robert Fulford, The National Post "For the general reader seeking to get up to speed on this critically important debate, this volume is destined to become an indispensable guide. Each contributor makes salient points in favour of their museological argument."--Tom Mullaney, The Art Newspaper "The issues raised will certainly draw controversy and debate, especially in the current environment. Issues of cultural heritage remain targets of ethical, legal, political, and cultural controversies surrounding cultural property. Museum professionals, university scholars, and others deeply interested in cultural heritage will find the work a necessary read."--Choice "In stressing the multiple meanings--aesthetic, textual, political, ritual--that an object may have, these contributors oppose the claim that art divorced from its archaeological setting is a cosa morta ('dead thing')."--Hugh Eakin, New York Review of Books "A welcome challenge to repatriation policies underpinned by identity politics... Whose Culture? is a long-needed intervention in the debate about the role of museums. Cultural institutions have been on the defensive for decades, poorly firefighting accusations of didacticism, elitism, colonisation and looting, with ill-thought through mumbling and evasion... Museums need to defend openly their use and purpose and make a strong case for the invaluable role they play in the preservation, presentation and study of artefacts. Cuno does just that."--Tiffany Jenkins, Spiked Magazine "Far from being an esoteric, jargon-filled look at a debate between archaeologists and collectors of antiquities, these essays, some from conference presentations, some philosophical, and some impassioned, show that the whose-cultural-property debate runs parallel to and intersects other problem areas in the modern world."--N.S. Gill, About.com "[T]his book should give both sides of the antiquities debate much to think (and talk) about."--William H. Krieger, Religious Studies ReviewTable of ContentsAcknowledgments ix Introduction by James Cuno 1 Part One: The Value of Museums 37 To Shape the Citizens of "That Great City, the World" by Neil MacGregor 39 "And What Do You Propose Should Be Done with Those Objects?" by Philippe de Montebello 55 Whose Culture Is It? by Kwame Anthony Appiah 71 Part Two: The Value of Antiquities 87 Antiquities and the Importance--and Limitations--of Archaeological Contexts by James C. Y. Watt 89 Archaeologists, Collectors, and Museums by Sir John Boardman 107 Censoring Knowledge: The Case for the Publication of Unprovenanced Cuneiform Tablets by David I. Owen 125 Part Three: Museums, Antiquities, and Cultural Property 143 Exhibiting Indigenous Heritage in the Age of Cultural Property by Michael F. Brown 145 Heritage and National Treasures by Derek Gillman 165 The Nation and the Object by John Henry Merryman 183 Select Bibliography 205 Contributors 209 Index 213

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Materials in Conservation is the definitive introduction to the properties of materials used in conservation. The continual struggle of conservators to ameliorate the deterioration of objects has led to increasing use of synthetic polymers. These materials are part of the sophisticated technology that has been developed to augment and often replace traditional materials and methods. Conservators therefore have a wider range of techniques available. However, they must be able to appreciate the potentials and pitfalls of any proposed technique. The first section explains physical and chemical properties which are important in the conservation process, i.e. application, ageing, reversal. The topics covered include molecular weight, glass transition temperature, solubility and solvents, polymerisation and degradation reactions. The second section provides a detailed consideration of the individual materials, current and obsolete, used in conservation, drawing out the fac

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Book SynopsisTo showcase this living industrial museum, photographer Geoff Swaine has selected over 200 photographs of Britain’s heritage railways, including the Bluebell Railway to Llangollen, the Severn Valley, North York Moors, Great Western and Great Central railways, and many more.

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Book SynopsisPerspectives on the history and heritage of this unique, Defence of the Realm maritime town

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Book SynopsisStolen, Smuggled Sold: On the Hunt for Cultural Treasures tells the dark and compelling stories of iconic cultural objects that were stolen, smuggled or sold, and eventually returned back to their original owner. The book includes full-color photos of the objects.Trade ReviewMoses, author of Lost in the Museum: Hidden Treasures and the Stories They Tell (2008), considers the provenance of seven cultural treasures including Klimt’s Portrait of Adele Bloch Bauer I (the subject of the film, Woman in Gold), a ceremonial Ghost Dance shirt from a victim of the 1890 massacre at Wounded Knee, the mummy of Rameses I, and a typed manuscript of Pearl Buck’s The Good Earth. She reflects on the ethical issues that arose when these 'objects with institutional pedigrees . . . were removed in some way, legal or not.' The stories of these objects range from the dramatic to the heartbreaking to the venal (one is an account of the theft of historical audio discs by an official at the National Archives). In the final chapter, Moses reflects on the moral and legal questions of, in her words, 'who owns—and who should own—the world’s cultural treasures.' Museum goers may never look at an exhibit in quite the same way after reading this impassioned and engaging work. * Booklist *There have been a spate of excellent books recently about the lost treasures of the Holocaust and Moses herself wanted to write about American museums returning the stolen artworks to their rightful owners. Turns out that even the museums who had returned stolen or looted art to its owners were reluctant to speak up as it raised questions about why they had the art to begin with. So Moses went a slightly different route and decided to try to track down a number of missing treasures – from paintings, to manuscripts, to mummies; in America, Europe and the Middle East. Readers follow along with Moses as she tracks down (or tries to track down) each artifact, meeting with the shady and underhanded and those determined to do the right thing. From outright robberies to the 'acquisition' of certain pieces taken from their country of origin to be 'proudly displayed' in an American on European collection. Moses is the real deal, with all the proper museum credential, but she’s also a hell of a writer and brings to mind Thomas Hoving and his splendid stories of shady museum dealings. Highly recommended. * The Books Lover's Best Friend *What comes strongly to mind when one has read this book is the sometime inhumanity of mankind, political scheming, overwhelming greed and the plain stupidity and arrogance of individuals who feel they can get away with their crooked behavior. This book is fast paced written by an author who is au fait with the world of archives, archivists, museums and the historical research needed for each subject. The preface is detailed; there are eight chapters each dealing with an individual 'Cultural Treasure', colour plates, sources, additional reading and an index. Perhaps there might be a future book on other treasures that have been stolen, smuggled and sold? * ImagineMag!: A South African Arts & Culture Magazine *[Stolen, Smuggled, Sold: On the Hunt for Cultural Treasures is] an interesting and well-written book which archive professionals in the UK and Ireland should consider reading. * Archives and Records: The Journal of the Archives and Records Association *Written like a true detective novel, Nancy Moses takes the reader on an informative trek though the high-stakes world of art crime and trafficking. She profiles the cases and actors who labor to profit from the illicit cultural property market and the detectives and agents that combat them. -- Robert K. Wittman, retired FBI Special Agent, founder and former Senior Investigator, FBI National Art Crime Team, and author of the New York Times Best Seller Priceless: How I Went Undercover to Rescue the World’s Stolen Treasures.This book tells wonderful stories of the provenance and recovery of great artifacts. Part art appreciation, part history, part mystery story, each chapter is a gem of storytelling. -- Nina Segre, Esq., Adjunct Professor, University of California, Hastings

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Book SynopsisWhether the art form is theater, dance, music, festival, or the visual arts and galleries, the arts manager is the liaison between the artists and their audience. Bringing together the insights of educators and practitioners, this groundbreaker links the fields of management and organizational management with the ongoing evolution in arts management education. It especially focuses on the new directions in arts management as education and practice merge. It uses cases studies as both a pedagogical tool and an integrating device. Separate sections cover Performing and Visual Arts Management, Arts Management Education and Careers, and Arts Management: Government, Nonprofits, and Evaluation. The book also includes a chapter on grants and raising money in the arts.Trade Review'... a welcome addition to the literature on arts management. It provides information that has yet to be explored by combining the more “how to” applications that a manager should consider with a cursory review of policy-based considerations that confront the arts leader.' -- Cecelia Fitzgibbon, The Journal of Arts Management, Law, and SocietyTable of ContentsChapter 1 Introduction, Meg Brindle, Constance DeVereaux; Part 1 Performing and Visual Arts Management; Chapter 2 Facilities Management: Arts Facilities, Patrick Donnelly; Chapter 3 Theater Production Management Guidebook, Kevin Murray; Chapter 4 “Doing It All”, Kira Hoffmann; Chapter 5 An Introduction to Festival Management, Juha Iso-Aho; Chapter 6 Gallery Management, Trudi Van Dyke, Eleanor Striplin; Part 2 Arts Management: Education and Careers; Chapter 7 Through, With, and In, James E. Modrick; Chapter 8 Careers and Internships in Arts Management, Meg Brindle; Part 3 Arts Management: Government, Nonprofits, and Evaluation; Chapter 9 Arts and Cultural Policy, Constance DeVereaux; Chapter 10 Starting a Nonprofit Organization: The Business Side, Kathryn Calafato; Chapter 11 Fund-Raising and Grant-Writing Basics for Arts Managers, Constance DeVereaux; Chapter 12 Evaluation in the Arts, David B. Pankratz;

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Book SynopsisRuth Phillips argues that these practices are indigenous not only because they originate in Aboriginal activism but because they draw on a distinctively Canadian preference for compromise and tolerance for ambiguity. Phillips dissects seminal exhibitions of Indigenous art to show how changes in display, curatorial voice, and authority stem from broad social, economic, and political forces outside the museum and moves beyond Canadian institutions and practices to discuss historically interrelated developments and exhibitions in the United States, Britain, Australia, and elsewhere. Drawing on forty years of experience as an art historian, curator, exhibition critic, and museum director, she emphasizes the complex and situated nature of the problems that face museums, introducing new perspectives on controversial exhibitions and moments of contestation. A manifesto that calls on us to re-imagine the museum as a place to embrace global interconnectedness, Museum Pieces emphasizes the transTrade Review"Museum Pieces is eminently readable - written simply and elegantly. There is no other book that covers forty years of Canadian museology with such historical depth and theoretical thoughtfulness." Jennifer Kramer, anthropology, University of British Columbia "Ruth Phillips is one of the most well-respected and senior figures working in the domain of contemporary museum anthropology and critical museum studies. The great strengths of this volume are the author's careful research, her unique position within the "Ruth Phillips has been a key maker and shaper of new curatorial and institutional cultures but is also certainly the finest commentator on the progress, in fits and starts, of the museum world over the last thirty years. While the debates have suffered a

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Book SynopsisMuseums are frequently sites of struggle and negotiation. They are key cultural institutions that occupy an oftentimes uncomfortable place at the crossroads of the arts, culture, various levels of government, corporate ventures, and the public. Because of this, museums are targeted by political action but can also provide support for contentious politics. Though protests at museums are understudied, they are far from anomalous. Tear Gas Epiphanies traces the as-yet-untold story of political action at museums in Canada from the early twentieth century to the present. The book looks at how museums do or do not archive protest ephemera, examining a range of responses to actions taking place at their thresholds, from active encouragement to belligerent dismissal. Drawing together extensive primary-source research and analysis, Robertson questions widespread perceptions of museums, strongly arguing for a reconsideration of their role in contemporary society that takes into account politicalTrade Review"Tear Gas Epiphanies is an excellent contribution to the field of critical museum studies in Canada and globally. Robertson highlights exhilarating moments of protest, while also offering critical analysis, paying attention to the demands of intersectionality in theory and practice." Shelley Ruth Butler, McGill Institute for the Study of Canada and co-editor of Curatorial Dreams: Critics Imagine Exhibitions"Tear Gas Epiphanies presents high-quality, well-designed, and well-examined case studies in the context of political debates around art, museums, and activism. It will be widely read by those interested in the politics of culture, national identity, and public history – its formation, models of resistance, and transformations over time." Kylie Message, Australian National University Humanities Research Centre

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Book SynopsisCannibal Tours and Glass Boxes poses a number of probing questions about the role and responsibility of museums and anthropology in the contemporary world.Trade ReviewThis rich, complex, and compelling book represents a forceful scrutiny of the often polarized discourse on museums as well as an attempt to discredit one-sided arguments that prevent subtle and nuanced understandings of these institutions ... Ames spends a good deal of time challenging the ways people think about, understand, and represent Native art ... Ames raises interesting and important questions for anthropologists., for art historians, and for museum professionals ... The struggle for genuine openness to a multitude of voices is by no means over; we should be grateful to Michael Ames for providing us with such a rational and thoughtful publication which represents a major contribution to that struggle. -- Aldona Jonaitis * Museum Anthropology *Cannibal Tours has quite a bit to recommend it, and to recommend it to professional and lay readers alike. For the former, it offers some new and eminently practical insights not just about the present and future of museums, but about the relevance of anthropology to late 20th century society. In this sense the book is less true to its current subtitle than to the original “Anthropology of Anthropology,” and so is deserving of being read as a critical commentary on where the discipline has been, and where it may be heading. And for the latter, Ames’s well-written essays explain a good deal of what actually constitutes the work of museums, most importantly the production of those “cultural consumables” meant to inform and entertain the museum-going public. -- Barnett Richling, Department of Sociology & Anthropology, Mount Saint Vincent UniversityMuseum curators, anthropologists, and students of popular culture will find much in Cannibal Tours and Glass Boxes to inform and provoke. It will ... encourage readers to challenge the common sense of their own particular situations and apply its lessons to the operations of their own institutions. -- Patricia McCormack * Alberta Museums Review *Table of ContentsPreface to the Second EditionPreface to the First Edition: Museums, the Public and Anthropology1. Introduction: The Critical Theory and Practice of Museums2. The Development of Museums in the Western World: Tensions between Democratization and Professionalization3. Dilemmas of the Practical Anthropologist: Public Services versus Professional Interests4. What Could a Social Anthropologist Do in a Museum of Anthropology?: The Anthropology of Museums and Anthropology5. How Anthropologists Stereotype Other People6. How Anthropologists Help to Fabricate the Cultures They Study7. The Definition of Native Art: The Case of Willie Seaweed8. The Emerging Native View of History and Culture9. De-Schooling the Museum: A Proposal to Increase Public Access to Museums and Their Resources10. Are Museums or Anthropology Really Necessary Any More?11. World's Fairs and the Constitution of Society: The Ideology of Expo ’8612. The Big Mac Attack and the Anthropology of Everyday Life13. Cannibal Tours, Glass Boxes, and the Politics of Interpretation14. Museums in the Age of DeconstructionNotesBibliographyIndex

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Book SynopsisAn insightful examination of the complex functions of Northwest Coast art objects produced between 1922 and 1961, and a vital addition to First Nations and Canadian history.Trade ReviewRonald W. Hawker exposes and then considers the multiple ways in which meaning has been created and consumed around First Nations art objects by its viewing audiences. In so doing, he brings a new line to bear on the role Native art has played in the negotiation of social and geographical spaces in British Columbia. The book will interest scholars of Native studies, Canadian art history, anthropology, and cultural studies. -- Andrea N. Walsh * University of Toronto Quarterly, Winter 2004/05 *Table of ContentsIllustrationsAcknowledgments1 Introduction2 The Cranmer Potlatch and Indian Agent Halliday’s Display3 Totem Poles in Stanley Park4 Northwest Coast Art as National Heritage: Two Federal Projects of the Late 1920s5 The New Deals: George Raley and Depression-era Reform in British Columbia6 Alice Ravenhill and the BCIAWS7 Mathias Joe, Mungo Martin, and George Clutesi: "Art" as Resistance8 UBC, the BCPM, and the Totem Pole Carver Training Program9 The Totem Pole Preservation Committee and the Case of the Gitanyow10 Tales of Ghosts That Hover in the World Like Fading SmokeAppendices:A Map showing First Nations groups in British ColumbiaB Chronology of First Nations art in British Columbia, 1921-61NotesBibliographyIndex

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Book SynopsisThe Northwest Coast of North America has long been recognized as one of the world's canonical art zones. Since the mid-1700s, objects or art deriving from the Indigenous cultures of this area have been desired, displayed, and exchanged, classified and interpreted, stolen and confiscated, bought and sold, and displayed again in many parts of the world. Northwest Coast Native art has proved to be a powerful idea, assuming many guises over the centuries. But how has it been defined, and by whom and why?This remarkable volume records and scrutinizes definitions of Northwest Coast Native art and its boundaries. A work of critical historiography, it makes accessible for the first time in one place a broad selection of more than 250 years of writing on Northwest Coast art. Organized thematically, its excerpted texts are from both published and unpublished sources, some not previously available in English.The central importance of this book is that it counters the tendency to Trade ReviewThe scale of this undertaking is unprecedented in the art historical and anthropological literature of the Northwest Coast and, more broadly, in regard to Indigenous cultural expressions in North America and beyond ... The depth of research contained within its covers and the commitment to multivocality, interdisciplinarity, and consultation, are groundbreaking. -- Megan A. Smetzer, Department of Art History, Capilano University * Revue d'art canadienne / Canadian Art Review (RACAR), August 2014 *This volume balances solid, modem scholarship with an anthology of earlier writings. It will be indispensable for anyone with a scholarly interest in Native American art, and very important for anyone interested in the art and culture of indigenous communities. Summing Up: Essential. -- N. Anderson, emeritus, University of California, Riverside * CHOICE, March 2014 *This work is an anthology, akin to improvisational jazz – embroidered around a core theme – but allowing every contributor remarkable latitude, creativity, and individuality. Subtitled “a history of changing ideas,” it indeed questions many long-held assumptions in the field, and posits fresh notions on contemporaneity. It also works to suggest what might be appropriate, respectful, and well-informed means of appreciating, sharing, and studying ceremonial objects, and the Native Northwest cultures which imbued them with life…it is rare indeed that one encounters a book with the capacity to make the reader feel woefully uninformed, while simultaneously tempering with the unflinchingly illustrative personal narratives of Native elders, Haida manga, and thought-provoking arguments on cultural patrimony…to the degree that any criticism can be made of this volume, it would only be that its sheer size may deter the casual observer who sees it on a shelf. This would truly be a shame, since its wealth of information, multiplicity of perspectives, diversity of opinion, and review of historical literature would make it a terrific resource for any library. -- Michelle Paquette, Circulation, Periodicals, and Reserves Specialist, Frick Fine Arts Library * ARLIS/NA Reviews *Table of ContentsPrefaceIntroduction: The Idea of Northwest Coast Native Art / Charlotte Townsend-Gault, Jennifer Kramer, and Ḳi-ḳe-in1 Interpreting Cultural Symbols of the People from the Shore / Daisy Sewid-Smith2 Hilth Hiitinkis -- From the Beach / Ḳi-ḳe-in3 Haida Cosmic / Michael Nicoll Yahgulanaas4 From Explorers to Ethnographers, 1770-1870 / Ira Jacknis5 Thresholds of Meaning: Voice, Time, and Epistemology in the Archaeological Consideration of Northwest Coast Art / Andrew Martindale6 Objects and Knowledge: Early Accounts from Ethnographers, and Their Written Records and Collecting Practices, ca. 1880-1930 / Andrea Laforet7 “That Which Was Most Important”: Louis Shotridge on Crest Art and Clan History / Judith Berman8 Anthropology of Art: Shifting Paradigms and Practices, 1870s-1950 / Bruce Granville Miller9 Going by the Book: Missionary Perspectives / John Barker10 The Dark Years / Gloria Cranmer Webster11 Surrealists and the New York Avant-Garde, 1920-60 / Marie Mauzé12 Northwest Coast Art and Canadian National Identity, 1900-50 / Leslie Dawn13 Art/Craft in the Early Twentieth Century / Scott Watson14 Welfare Politics, Late Salvage, and Indigenous (In)Visiblity, 1930-60 / Ronald W. Hawker15Form First, Function Follows: The Use of Formal Analysis in Northwest Coast Art History / Kathryn Bunn-Marcuse16 Democratization and Northwest Coast Art in the Modern Period: Native Emissaries, Non-Native Connoisseurship, and Consumption / Judith Ostrowitz17 History and Critique of the “Renaissance” Discourse / Aaron Glass18 Starting from the Beginning / Marianne Nicolson19 Shifting Theory, Shifting Publics: The Anthropology of Northwest Coast Art in the Postwar Era / Alice Marie Campbell20 Value Added: The Northwest Coast Art Market since 1965 / Karen Duffek21 “Where Mere Words Failed”: Northwest Coast Art and Law / Douglas S. White22 Art for Whose Sake? / Ḳi-ḳe-in23 “Fighting with Property”: The Double-Edged Character of Ownership / Jennifer Kramer24 Museums and Northwest Coast Art / Aldona Jonaitis25 Collaborations: A Historical Perspective / Martha Black26 Pushing Boundaries, Defying Categories: Aboriginal Media Production on the Northwest Coast / Kristin L. Dowell27 Art Claims in the Age of Delgamuukw / Charlotte Townsend-Gault28 Stop Listening to Our Ancestors / Paul Chaat Smith29 NWC on the Up ... Load: Surfing for Northwest Coast Art / Dana Claxton30 The Material and the Immaterial across Borders / Charlotte Townsend-GaultWorks CitedIndex

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Book SynopsisSo Much More Than Art reveals the fascinating practice of miniaturization in Indigenous Northwest Coast art as a subtle form of communication in the face of oppressive colonization.Trade ReviewDavy establishes the miniature as a significant social actor on the Northwest Coast. -- Emily L. Moore, Colorado State University * BC Studies *Davy argues that miniature carving can be understood as a form of resistance in the face of 'aggressive colonization ... ' Students and scholars of anthropology and museology will find this volume eye-opening. -- L. De Danaan * CHOICE Connect *Table of ContentsIntroduction 1 Practice and Play: The Makah 2 The Haida String: Northern Peoples3 Tiny Dancers and Idiot Sticks: The Kwakwaka’wakw4 Small Foundations: Tulalip Tribes 5 An Elemental Theory of Miniaturization6 Analysis of Technique and Status7 Miniature RealitiesNotes; References; Index

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