Orality / Oral transmission Books

Book SynopsisThis book is a practical guide for everyone who is confronted with a collection that hasn't seen any preventive conservation or cataloging before. It helps gaining an overview, defining priorities, and organizing the work in a way it is safe for the objects and the people involved. It defines logical exits, goals to work towards where the collection is in a state the next steps can wait without risking the progress made. Later on, readers learn to define their own logical exits that fit their specific situation.Compared to other books about collections management it doesn't focus on the details of collections care, but rather on the big picture of managing such a project. It assumes that at the beginning there is nothing but the reader and an unmanaged collection, so that part of the project is to source money, material, and people to help. The second edition has a new chapter on setting up collections management systems, the original text was reworked and in parts enhanced, there are additional success stories in the last chapter with references to them in the text, and the bibliography now contains some resources for natural history, indigenous, and archaeological collections.

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Book SynopsisThis book is a practical guide for everyone who is confronted with a collection that hasn't seen any preventive conservation or cataloging before. It helps gaining an overview, defining priorities, and organizing the work in a way it is safe for the objects and the people involved. It defines logical exits, goals to work towards where the collection is in a state the next steps can wait without risking the progress made. Later on, readers learn to define their own logical exits that fit their specific situation.Compared to other books about collections management it doesn't focus on the details of collections care, but rather on the big picture of managing such a project. It assumes that at the beginning there is nothing but the reader and an unmanaged collection, so that part of the project is to source money, material, and people to help. The second edition has a new chapter on setting up collections management systems, the original text was reworked and in parts enhanced, there are additional success stories in the last chapter with references to them in the text, and the bibliography now contains some resources for natural history, indigenous, and archaeological collections.

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Book SynopsisThis practical handbook is a proposal for transforming museum tours. The target audience is museum guides, docents and interpreters who are interested in facilitating conversations about seen and unseen meanings in artworks, objects, and artifacts. The goal is to engage visitors in meaning-oriented inquiry which involves doing and not just viewing creative work. Grounded in whole to part learning theory and best teaching practices, each chapter includes a tour vignette written as a you are there experience. The vignettesfrom different types of museumsshow guides and docents using diverse strategies that invite readers to assume the role of guide and guest. Meaningful Museum Conversations: Strategies for Guiding Tours also offers an extensive Museum Guide Toolkit that aligns with inquiry thinking, and features recurring chapter sections that include Advice from Museum Guides and Adapting for Differences.

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Book SynopsisArtful Moments: Building Museum Experiences for People Living with Dementia is a resource to support museums in creating programs for people living with dementia that are person-centered, empowering and responsive. It is based on the Art Gallery of Hamilton's long-standing Artful Moments program and is the result of the learning and experiences the authors have had in offering creative programs for people throughout their journey with dementia. Combining specialized strategies for dementia care with museum-based activities, Artful Moments explores how museum can open up a world of in-the-moment engagement and enjoyment for the participants with dementia, while providing opportunities for social connection and shared experience with loved ones and peers.This book combines the knowledge of experienced practitioners in museum education and healthcare, introducing a proven program methodology that considers the museum experience as a whole, and using strategies to support engagement, ultimately achieving improved wellbeing for participants. The authors understand and embrace the idea that each museum is unique, bringing their own site, collections and activities to their work. In this how-to guide', they present a knowledge base and a planning process that is broadly applicable to any museum site, whether an art gallery, history museum, historical site, botanical garden, zoo or more.

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Book SynopsisArtful Moments: Building Museum Experiences for People Living with Dementia is a resource to support museums in creating programs for people living with dementia that are person-centered, empowering and responsive. It is based on the Art Gallery of Hamilton's long-standing Artful Moments program and is the result of the learning and experiences the authors have had in offering creative programs for people throughout their journey with dementia. Combining specialized strategies for dementia care with museum-based activities, Artful Moments explores how museum can open up a world of in-the-moment engagement and enjoyment for the participants with dementia, while providing opportunities for social connection and shared experience with loved ones and peers.This book combines the knowledge of experienced practitioners in museum education and healthcare, introducing a proven program methodology that considers the museum experience as a whole, and using strategies to support engagement, ultimately achieving improved wellbeing for participants. The authors understand and embrace the idea that each museum is unique, bringing their own site, collections and activities to their work. In this how-to guide', they present a knowledge base and a planning process that is broadly applicable to any museum site, whether an art gallery, history museum, historical site, botanical garden, zoo or more.

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Book SynopsisKiersten F. Latham, PhD, is the President and CEO of Sauder Village in Archbold, Ohio, USA. John E. Simmons is a writer and consultant for Museologica (an international museum consulting service).

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Book SynopsisKellian Adams Pletcher is an educator, multimedia producer, writer, and game designer who has created over 150 games for museums since 2008. As the Director of GLAM Innovation at FableVision Studios, Kellian has led innovative projects like Project AMI and designed award-winning games like Cyberchase Fashion Challenge for PBS Kids. Pletcher has taught game design at Emerson College and Northeastern University and has collaborated with organizations like the Met, the UCAR Center for Science Education, The National Gallery, The Smithsonian Castle, The American Association of Libraries, and SFMoMA. She's been published in the Journal of Play and AMA's Exhibition Journal.

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Book SynopsisElif M. Gökçigdem, PhD is a pioneer in positioning museums as empathy-building incubators. She designs encounters that nurture meaning-making and unlock human potential to experience an ever-widening sense of relatedness and belonging. After coining the term empathy-building through museums in 2006, Elif created the Designing for Empathy Framework, Summit, and Workshops, published three books and set up ONEempathynetwork.com.

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Book SynopsisZida Wang is the Manager of Community Engagement and Outreach at the University of Nevada, Las Vegas Marjorie Barrick Museum of Art and has a Ph.D. in Museum Education and Visitor-Centered Curation from Florida State University. His publications include articles in The International Journal of the Inclusive Museum and a chapter in Dimensions of Curation. He co-created the exhibits The Art of Bonding and Apart/Together.Morgan Joseph Hamilton, Ph.D., is the Gretchen Hupfel Curator of Contemporary Art at The Delaware Contemporary. His dissertation, Certain Professionals in an Uncertain Field during Uncertain Times (2024), for the Museum Education and Visitor-Centered Curation program at Florida State University studied the effects of digital programming on art museum educators' experiences during the crisis.

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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 SynopsisA Deaccession Reader is intended to assist those who are responsible for developing a deaccession program. It includes collections disposal policies from several museums, as well as statements from professional organizations, including AAM, AAMD, and AASLH.

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Book SynopsisInge Daniels is Associate Professor of Social Anthropology at the University of Oxford, UK.Trade ReviewThe text and illustration of this book are attractive, even beautiful. The writing is very clear, and the material on the variety of visitors and their responses is both original and rich. * George E. Marcus, University of California, Irvine, USA *Given that exhibitions are such a constant presence in our contemporary world, it is surprising how rarely we concern ourselves with what they actually do. But Inge Daniels, a thoughtful, scholarly and responsible anthropologist, asked - what are the consequences of an exhibition? If we provide more opportunities for interaction, and more fully engage the senses of our visitors, what then will they take away from this experience? The major contribution of this book is to show how anthropology itself, when astutely deployed, can provide a means to answer fundamental questions that apply to all exhibitions. * Daniel Miller, UCL, UK *Table of ContentsAcknowledgements Introduction: What Are Exhibitions For? SPREAD 1: The AHJ booklet: A practical tool to study exhibition visitors Chapter 1. Representational and Performative Knowledge SPREAD 2: Mike - 'There is a connecting memory in my feet' Chapter 2. Photography, Exhibition Design and Atmosphere SPREAD 3: Sue - 'Photography students have been very surprised to learn that what appears to be an actual window is in fact an illusion' Chapter 3. Similarities and Stereotypes SPREAD 4: Jen - 'I was very interested in anime and manga' Chapter 4. To Learn or Not to Learn SPREAD 5: Natasha - 'And I have been putting them in the dishwasher' SPREAD 6: Natalia - 'It's in our shower because it's very useful; Molly - 'It is something I found and can't give away' Chapter 5. Photography, Performance and Play SPREAD 7: Ali - 'I never found England a very interesting place' Conclusion: Exhibitions as Technologies of the Imagination? Notes References

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Book SynopsisTurning to a region of South Italy associated with Greater Greece and the geographies of Homer''s Odyssey, Marco Benoît Carbone delivers a historical and ethnographic treatment of how places defined in public imagination and media by their associated histories become sites of memory and identity, as their landscape and mythologies turn into insignia of a romanticised antiquity.For the ancient Greeks, Homer had set the marine monsters of the Odyssey in the Strait between Calabria and Sicily. Since then, this passage has been glowing with the aura of its mythological landmarks. Travellers and tourists have played Odysseus by re-enacting his journey. Scholars and explorers have explained the myths as metaphors of whirlpools and marine fauna. The iconic Strait and village of Scilla have turned into place-myths and playgrounds, defined by the region''s heritage.Carbone observes the enduring impact of Hellas on the real Strait today. The continuous rekindling of cultural and viTrade Review[A]n innovative investigation into the relationship between the Scylla and Charybdis of the Odyssey and the southern Italian town of Scilla. * Greece and Rome *Carbone’s ethnographic approach to Homeric and Greek narratives in southern Italy can be useful for everyone who studies and teaches the artifacts and texts of the ancient Greek world...There is much anti-racist work to do, and for it to make a difference, plenty of people, from all kinds of standpoints, need to undertake such work. Carbone’s study is a model for what some of that work can look like, accomplish, and inspire. -- Catherine Connors * Arion: A Journal of the Humanities and the Classics *The book’s investigation into contemporary culture and ethnography is an excavation inside the minds, bodies, perceptions and languages of the inhabitants of the ‘scilleccariddi Region’. * The Classical Review *This text is an exciting entry in the study of ancient Greece and antiquities. The author skillfully weaves historical analyses of Greece, Homer’s Odyssey, and ancient mythology with ethnographic considerations of the contemporary Strait of Messina. A welcomed and necessary study of the significance of ancient Greek mythology in the contemporary world. -- Scott A. Lukas, Professor of Anthropology, Lake Tahoe Community College, USATable of ContentsIntroduction Notes on Places and People List of Illustrations 1. The Strait of Homer and the Strait of Reality 2. Chronotopes of Hellas: The Grand Tour 3. Mediterranean Place-Myths 4. Myth of Myths: Mapping the Odyssey 5. Materialising Heritage: Tourism in Scilla 6. Denizens of the Odyssey 7. Conclusions: (Re)-Imagining the Strait Notes Bibliography Index

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Book SynopsisLee Graña Nicolaou is a Research Fellow in Archaeology at the University of Bologna, Italy.Tatiana Ivleva is a Visiting Research Fellow at the University of Newcastle, UK. Bill Griffiths is Head of Programmes and Collections at Tyne and Wear Archives and Museums, UK.

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Book SynopsisThe archaeology of the contemporary era is a lively and well-established field, contributing to studies of migration, climate change, consumption and violent conflict, as well as to the development of archaeological thought and practice more widely. Contemporary archaeology is grounded in the material traces of 20th and 21st-century existence, touching upon fields such as human geography, contemporary history and social anthropology. Despite its scholarly impacts and widely-recognised pedagogical values, to date the formal teaching of contemporary archaeology has been relatively limited. This book brings together accounts of teaching and learning in contemporary archaeology from as far afield as Orkney and Iran.The chapters include case studies of courses, modules and specific sessions, as well as reflections on the development of the discipline in different contexts. This book is intended as a resource for both teachers and students of contemporary archaeology, presenting aTrade ReviewTeaching and Learning the Archaeology of the Contemporary Era is a timely and important contribution to the ever-evolving field of contemporary archaeology. The volume does an excellent job of highlighting the diversity and creativity of approaches used by educators and practitioners, showcasing how teaching contemporary archaeology can both strengthen existing archaeological education and offer avenues for reconceptualising the field entirely. -- Miriam Rothenberg, Junior Research Fellow, University of Oxford, UKTable of ContentsList of Figures List of Contributors Introduction: Pedagogy in Contemporary Archaeology (Gabriel Moshenska, University College London, UK) I. Course and Curriculum Development 1. Contemporary Art and Archaeology: Interdisciplinary Pedagogy and Practice in the Digital University (Antonia Thomas, University of the Highlands and Islands, UK) 2. Documenting Wesley College: A Mildly Anarchist Teaching Encounter (William Caraher, University of North Dakota, USA) 3. Teaching Contemporary Archaeology: The Durham Experience (David Petts, Durham University, UK) II. Pedagogical Practices 4. The Henge with a Postcode: The Benefits of Contemporary Archaeology Fieldtrips (Kenneth Brophy, University of Glasgow, UK) 5. Draw your Phone: The Cellphone as an Intimate, Everyday Artefact (Colleen Morgan, University of York, UK) 6. Walking and Talking Around the Bombsites of Bloomsbury (Gabriel Moshenska, University College London, UK) III. Working with Communities 7. Over, Under, and In Between: Collaborative Learning from Landscapes using Contemporary Archaeology (April M. Beisaw, Vassar College, USA) 8. Teaching and Learning Difficult Pasts of the Twentieth Century through Community Archaeology (Tiina Äikäs, Oula Seitsonen, Tuuli Matila, and Vesa-Pekka Herva, University of Oulu, Finland) 9. Beyond Zinjanthropus: Historical Archaeology Pedagogy in Tanzania (Nancy Rushohora, University of Dar es Salaam, Tanzania) IV. The Personal and the Political 10. ‘We Want School!’ Teaching and Learning Contemporary Archaeology with Displaced People in Anarchist-Adjacent Spaces in Athens, Greece (Rachael Kiddey, University of Cambridge, UK) 11. Education is Life: Collective Experiences of Practicing the Archaeology of the Contemporary Past in a Conservative Atmosphere (Maryam Dezhamkhooy, Heidelberg University, Germany and Leila Papoli-Yazdi, Malmö University, Sweden) 12. Archaeologies of the Contemporary World – A Chancy Business? (Greg Bailey, Independent Researcher, UK) Index

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Book SynopsisNomenclature 4.0 for Museum Cataloging is an updated and expanded edition of Robert G. Chenhall's system for classifying human-made objects, originally published in 1978. The Chenhall system is the standard cataloging tool for thousands of museums and historical organizations across the United States and Canada. For this fourth edition, hundreds of new terms have been added, and every category, class, sub-class, and object term has been reviewed and revised as needed by a professional task force appointed by the American Association for State and Local History. This new edition features crucial revisions including: A revised and updated users' guide with new tips and advice An expanded controlled vocabulary featuring nearly 950 new preferred terms 475 more non-preferred terms in the index An expanded and reorganized section on water transportation Expanded coverage of exchange media, digital collections, electronic devices, archaeological and ethnographic objects, and moreAASLH has dTrade ReviewNomenclature 4.0 for Museum Cataloging is an updated and expanded edition of Robert G. Chenhall's system for classifying man-made objects, originally published in 1978. The Chenhall system is the standard cataloging tool for thousands of museums and historical organizations across the United States and Canada. For this fourth edition, hundreds of new terms have been added, and every category, class, sub-class, and object term has been reviewed and revised as needed by a professional task force appointed by the American Association for State and Local History. * AASLH History News *Though it comes only a few years after the previous edition, Nomenclature 4.0 is needed to respond to the rapidly changing nature of museum collections. Collecting digital objects has become unavoidable and Nomenclature 4.0 provides a standardized taxonomy for digital collections. Museums collecting smartphones, tablets, video games, born-digital photographs and other recent technologies will find this edition invaluable. -- Corinne Midgett, registrar of High Point Museum, North CarolinaTable of ContentsBrief Table of Contents Preface Acknowledgments An Introduction to Nomenclature 4.0 Nomenclature Users’ Guide Category 1: Built Environment Objects Category 2: Furnishings Category 3: Personal Objects Category 4: Tools and Equipment for Materials Category 5: Tools and Equipment for Science and Technology Category 6: Tools and Equipment for Communication Category 7: Distribution and Transportation Objects Category 8: Communication Objects Category 9: Recreational Objects Category 10: Unclassifiable Objects Alphabetical Index of Object Terms

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Book SynopsisBuilding informative and interesting exhibits is challenging for small museums. Even museums with minimal budgets can produce quality exhibits with guidance from Great Exhibits! An Exhibit Planning and Construction Handbook for Small Museums. Using research from top exhibit professionals and do-it-yourself installation instructions, small museum staff and volunteers will be able to build professional exhibits.Museum professionals have dedicated years of study to the experiences of museum visitors. Great Exhibits! combines the best academic research that will help small museums understand what needs to go into planning an exhibit with step-by-step instructions that outline the process for planning successful exhibits. Digital interactive technology and simple hands-on experiences are included.To keep up with changing technology, the companion website https://bethsagehansen.wordpress.com/ will be updated regularly to provide resources and current digital technology.The best thing about GTrade ReviewThere are many handbooks about creating exhibitions, but this is the first one I found that really goes into the basics, the nuts and bolts of exhibit planning and installing. It is especially good for people in small museums who wear many – if not all – hats in the process. The many practical examples from label writing to mannequin building show that you don’t need a big budget to create compelling exhibitions. -- Angela Kipp, collections manager, TECHNOSEUM, Mannheim, Germany, and co-founder and administrator of Registrar TrekMs. Hansen's extensive experience with small museums qualifies her as an excellence source of information and inspiration for exhibit makers in similar settings. Her practical guide, rich with suggestions and easy-to-use worksheets, will be useful for small museums of any topic or location. -- Beverly Serrell, Director, Serrell & Associates and author of "Exhibit Labels: An Interpretive Approach"Table of ContentsList of Tables Foreword Acknowledgments Preface Chapter 1 Why Create an Exhibition? Why do Museums Create Exhibitions? Museum's Mission Permanent or Temporary? Worksheet 1 Chapter 2 Who will Create the Exhibition and When? Who Will Create the Exhibition? Worksheet 2 Timeline Worksheet 3 Chapter 3 What will the Exhibition be About? Audience Topic Public Programming Worksheet 4 Chapter 4 What will People See? Objects and Photographs Worksheet 5 Mood/Visitor Experience Hands-On Activities Room Layout Worksheet 6 Chapter 5 What will we Tell Them? Label Writing Worksheet 7 Auxiliary Materials Worksheet 8 Chapter 6 Will it Work? Evaluation Mock Up Testing Examples Worksheet 9 Chapter 7 How will we Do it? Walls and Hanging Systems Temporary Walls Exhibit Cases Barriers Period Rooms Mannequins Interactive and Hands-on Photo Display Labels for Objects Section Headings and Titles Wall Panel Production Object Display and Mounting Lighting Glossary Bibliography

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Book SynopsisThis is a book about authentic fakes, admirable forgeries, and imagined representations of tainted reality: things that are less than meet the eye. Through nine questionable cultural treasures, readers meet those who make, sell, and buy fakes, and through these, explore their own views about what’s real, what’s fake, and why they should care.

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Book SynopsisHow does museum location shape the interpretation of an art object by critics, curators, art historians, and others? To what extent is the value of a work of art determined by its location? Providing a close examination of individual works of American art in relation to gallery and museum location, this anthology presents case studies of paintings, sculpture, photographs, and other media that explore these questions about the relationship between location and the prescribed meaning of art. It takes an alternate perspective in that it provides in-depth analysis of works of art that are less well known than the usual American art suspects, and in locations outside of art museums in major urban cultural centers. By doing so, the contributors to this volume reveal that such a shift in focus yields an expanded and more complex understanding of American art. Close examinations are given to works located in small and mid-sized art museums throughout the United States, museums that generally Trade Review'Locating American Art is truly groundbreaking in every sense of the word. With its focus on lesser-known collections, this compendium of essays by a diverse group of scholars unearths manifold treasures in unexpected places far from the metropolis and its powerful institutions. Excitingly eclectic in its approach, the book embraces artists both canonical and obscure, celebrated and utterly unsung, and arrays them on a level playing field. It vividly suggests just how much there is still to discover by venturing beyond the center and delving wholeheartedly into the rich ground of the periphery. Altogether, Locating American Art is an invigorating departure from business as usual.' Sarah Burns, Indiana University, Bloomington, USA'An impressive achievement, Locating American Art is a tightly knit anthology of case studies that shifts attention from our usual focus on major artworks in major collections to those that reside in university museums, historic houses, even high schools and department stores. Forcing us to recognize that the institution an artwork calls home shapes its interpretation, it implicitly critiques the canon and offers alternative narratives for art of the United States. The range of participating authors, their diverse methodologies and probing scholarship make this an exciting and significant volume. "Location, location, location," the mantra of real estate, should now also be embraced by art history. This book has the potential to be a game-changer.' Katherine Manthorne, City University of New York, USATable of ContentsIntroductionCynthia FowlerSection I. Local History/Local Artists1. Miguel de Baca, Blurred Boundaries: La Muerte en su Carreta as Artifact and Symbol (Colorado Springs Fine Arts Center, Colorado Springs, CO)2. Adrienne Baxter Bell, Echoes of the East, Echoes of the Past: Charles Caryl Coleman’s Azaleas and Apple Blossoms (de Young Fine Arts Museum, San Francisco, CA)3. Erika Schneider, Shot through the Heart, the Woman is to Blame: Philip Leslie Hale Performs a Symbolist Game (Danforth Art, Framingham, MA)4. Herbert Hartel, Raymond Jonson: A Southwestern Modernist Alone on the Prairies (Joslyn Museum, Omaha, NE)5. Jessica Martin, At the Margins: The Undiscovered Art of Josephine Tota (Memorial Art Gallery, University of Rochester, Rochester, NY)Section II. Marginalized Works Reinterpreted6. Traci Costa, Edward Mitchell Bannister and the Aesthetics of Idealism (Smithsonian American Art Museum, Washington, DC)7. Emily Burns, Wandering Pictures: Locating Cosmopolitanism Frederick A. Bridgman’s The Funeral of a Mummy on the Nile (Speed Art Museum, Louisville, KY)8. Henry Adams, "The One I Most Love" - Thomas Eakins's Portrait of Samuel Murray (Mitchell Museum at Cedarhurst Center for the Arts, Mount Vernon, IL)9. James Swenson, Maynard Dixon and the Forgotten Man (Brigham Young University Museum of Art, Provo, UT)10. Jessica Murphy, Arthur Dove’s Carnival: Nature, Structure, and the Problem of Permanence (Montclair Art Museum, Montclair, NJ)11. Lara Kuykendall, Palmer Hayden's John Henry Series: Inventing an American Hero (Museum of African American Art, Macy's department store, Los Angeles, CA)Section III. Art Outside of the Art Museum12. Kimberlee Cloutier-Blazzard, The Portrait of Mary McIntosh Sargent in the Sargent House Museum: Slavery and "Natural Slavery" in Federalist Era America (Sargent House, Gloucester, MA)13. Sara Picard, An Oblique View of New Orleans's St. Louis Cathedral (Louisiana State Museum, New Orleans, LA)14. Laura Smith, Complex Negotiations: Beadwork, Gender, and Modernism in Horace Poolaw’s Portrait of Two Kiowa Women (Nash Library, University of Science and Arts of Oklahoma, Chickasha, OK)15. Elizabeth Kuebler-Wolf and Connie Cutler, Jean Helion, La Fille au Reflect de l'Homme (Portrait of Pegeen Guggenheim) (Peru High School, Peru, IN)16. Sandra Cheng, Silent Protest and the Art of Paper Folding: The Golden Venture Paper Sculptures at the Museum of Chinese in America (New York, NY)

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Book SynopsisWhile new directors learn how to manage and lead museums as part of their professional training and career development, the skills and knowledge required to work with boards---which are instrumental to a museum director's work---must somehow be acquired on the job as one's career progresses. What Every Museum Director Should Know about Boards is designed to empower new and aspiring museum directors by equipping them with the skills and knowledge to work with boards. What Every Museum Director Should Know about Boards uses museum-based vignettes of all-too-true situations encountered by new museum directors are used to illustrate what museum directors need to understand about their work with museum boards, so that they have the skills and knowledge to identify, assess, and successfully navigate the common issues they will inevitably encounter as a director. Following the vignette, analysis of the situation and strategic guidance are offered.A new director's understanding of how boards are structured and operate, how they will interact with the board, and what areas they will work on with the board are all critical to a new museum leader's success. However, busy new directors often do not have time to access the many widely dispersed resources about working with boards or to ascertain what parts of board operations will most affect their daily work. Consequently, What Every Museum Director Should Know about Boards outlines how boards are organized, discusses the common points of contact between the director and the museum's board, and examines the kinds of challenges museum directors will likely encounter in working with their boards. Given the importance of museum boards to the success of museums and a director's understanding of boards to their own career development, What Every Museum Director Should Know about Boards is an essential resource for new and aspiring museum directors.

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Book SynopsisA stunning new range of stationery produced in association with the British Museum.These beautiful colour postcards, illustrated with artwork and artifacts from the vast archives of the British Museum, are perfect to pull out and send.

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Book SynopsisNew and experienced managers looking for advice and ideas will find InterpPress''s Management of Interpretive Sites: Developing Sustainable Operations Through Effective Leadership helpful in developing managerial and leadership skills. Whether you need to write personnel policies, develop a business plan, conduct meetings, or use interpretive efforts to convince visitors to become stewards of your resource, this book contains specific suggestions based upon the authors'' combined 60 years of experience in running not-for-profit, governmental, and for-profit organizations.

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Book SynopsisKiersten F. Latham, PhD, is the President and CEO of Sauder Village in Archbold, Ohio, USA. John E. Simmons is a writer and consultant for Museologica (an international museum consulting service).

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Book SynopsisJohn E. Simmons (B.S., Systematics and Ecology; M.A., Museum Studies) worked as a zoo keeper before becoming a collection manager at the California Academy of Sciences and later at the Natural History Museum at the University of Kansas, where he also served as Director of the Museum Studies Program until 2007. He has published more than 150 papers and books on museology and the care of collections, particularly for natural history. Since 2008, Simmons has run Museologica, an international museum consulting service, and has taught workshops and university classes on the care of collections in the U.S. and abroad.

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Book SynopsisTells the story of Johannesburg's MuseumAfrica, a South African history museum that embodies one of the most dynamic and fraught stories of colonialism and postcolonialism, its life spanning the eras before, during, and after apartheid. This title focuses on racism and its institutionalization in South Africa.Trade Review"There is something fresh, rewarding, and even courageous in Sara Byala's approach. She not only manages to reconstruct the history of MuseumAfrica but also demonstrates quite clearly that none of the new museums in South Africa today were created without some institutional (or bureaucratic) connection to it." (Christopher B. Steiner, Connecticut College)"

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Book SynopsisA piece of Plymouth Rock. A lock of George Washington's hair. Wood from the cabin where Abraham Lincoln was born. Kept in museum collections across the US, such objects are the touchstones of our popular engagement with history. This book explores the history of private collections of items like these, illuminating how Americans view the past.Trade Review"Teresa Barnett is interested in the survival of public things and personal and what they meant to people. Drawing selectively but constructively upon the evidence, episodes, and theories, Sacred Relics is a very sophisticated and polished piece of work, offering the reader a clear sense of change over time in the realm of reliquaries and their keepers. There is no single work like it in US historiography. It will be a must-read in the fields of cultural, intellectual, and social history." (Michael Kammen, Cornell University)"

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Book SynopsisAmerican art museums flourished in the late twentieth century, and the impresario leading much of this growth was J. Carter Brown, director of the National Gallery of Art in Washington, DC, from 1969 to 1992. Along with S. Dillon Ripley, who served as Smithsonian secretary for much of this time, Brown reinvented the museum experience in ways that had important consequences for the cultural life of Washington and its visitors as well as for American museums in general. In Capital Culture, distinguished historian Neil Harris provides a wide-ranging look at Brown's achievement and the growth of museum culture during this crucial period. Harris combines his in-depth knowledge of American history and culture with extensive archival research, and he has interviewed dozens of key players to reveal how Brown's showmanship transformed the National Gallery. At the time of the Cold War, Washington itself was growing into a global destination, with Brown as its devoted booster. Harris describes

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Book SynopsisTrade Review"This powerful book will be of particular importance to those working in museum and tribal settings, but is highly appropriate for anyone interested in cultural heritage and the legal efforts to manage claims for Native patrimony. Essential."--Choice "Colwell ably and sensitively tells the often conflict-ridden story of how and why museums in the US relinquished their hold over this material. . . . Colwell finds himself squarely in the middle of each quandary: a practising anthropologist who works alongside Native Americans every day and is sensitive to their cultural dynamics. Colwell's account favours the Native American perspective--a sensible approach for a book aimed at scientifically literate readers who may lean the other way. Readers will come away with a deeper appreciation of Native American cultural imperatives and the complexity of the situation."--New Scientist "A careful and intelligent chronicle of the battle over Indian artifacts and the study of Indian culture."--Wall Street Journal "Colwell, senior curator of anthropology at the Denver Museum of Nature & Science, explores the fraught project of repatriating Native American sacred objects in this moving and thoughtful work. . . . Colwell's book raises provocative questions about who owns the past, and is surely an important work for curators--or anyone--interested in America's treatment of its cultural legacy."--Publishers Weekly "Without ever descending into sensationalistic tones, the author exposes delicate facts about massacres, beliefs, desecrations, and illegal activities, deploying evidence with a measured distance that is difficult to argue against. Native American voices are given plenty of space to support their cases. They emerge as strong and determined and this is what the author wants us to perceive as a way to sensitise the public to the deep ethical implications that these, like many other cases, present us with. . . [Colwell] explicitly make[s] the theme of objects' agency and personhood the core of [his] most poignant arguments about repatriation, ethics, and conservation."--Transmotion "In this beautifully written meditation on the vexed relationship between museums and Native American communities, Colwell reveals as never before the human dimensions of our recent struggles over repatriation. Important, necessary reading for all those who grapple with the essential question of how best to respect and honor the past."--Karl Jacoby, author of Shadows at Dawn: An Apache Massacre and the Violence of History "Plundered Skulls and Stolen Spirits breaks new ground. Colwell's dual roles of museum curator and human rights advocate offers a narrative of personal growth and professional practice that couples a humanist's sensitivities with a historian's insistence on primary documentary sources. The resulting breath of fresh air contributes mightily to still-controversial conversations about American reburial and repatriation. The message sounds loud and clear: Twenty-first century museums can indeed stand tall in addressing their own complex histories. Why do some still feel obliged to cover up past performance, to lock out qualified researchers from their archives and to sugar-coat their past in the hopes that nobody will notice?" --David H. Thomas, author of Skull Wars: Kennewick Man, Archaeology, and the Battle for Native American Identity "A lightly written, insider's account of the battle over human remains and objects in museums. . . . As this book shows, the fight to reclaim Native America's culture has been waged, in significant parts, by professionals such as Colwell. His is indeed an insider's account--just not from the sidelines. He too has been on the battlefield." --Spectator "Plundered Skulls and Stolen Spirits uses the story of one museum to show how Native American symbols of identity and ceremony and ancestral bones were initially appropriated as objects of cultural patrimony, but recently have become part of a complicated struggle of ownership. As Colwell profoundly shows, the emotional price paid by everyone involved--Native American, archaeologist, and museum curator--is never small." --Larry J. Zimmerman, author of The Sacred Wisdom of the Native Americans "Plundered Skulls and Stolen Spirits is a sobering peek into the controversy that surrounds tribal artifacts and human remains found in museums throughout the United States. His eloquent narration details several unique cases of repatriation. . . . Colwell has a unique perspective. He provides the reader with a firsthand look at the repatriation process, sympathetically including tribal perspectives--something that few museum directors have sought to do when writing on this subject in the past."--Science

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Book SynopsisProfitably Healthy Companies lays out ten essential principles of organizational development for sustained success. Bringing together practical and academic expertise, W. Warner Burke and Michael O’Malley detail proven methods for every organization at each level.Trade ReviewThis book is organizational development for the person charged with developing the organization and initiating change. Organized to enable executives to focus on what the organization needs to do well in order to build and sustain success, it nonetheless provides a strong technical explanation for the actions being taken to implement change. By providing such perspective, Profitably Healthy Companies avoids faddism while equipping the reader to drive change with a good understanding of the principles underpinning the process. It belongs on the executive’s bookshelf. Further, it is an excellent tool for bridging the gap between academic education in organization development and the challenges of applying the subject matter in the field, and thus an excellent book to digest before diving into the business of organizational change. Burke and O’Malley have made great strides in bridging the gap between academic texts and organization/leadership self-help books. -- David Swinford, president and CEO, Pearl MeyerWhether you’re looking for practical guidance for addressing key challenges facing organizations today or a modern primer on the theory behind the practice of OD, Burke and O’Malley offer a fresh and actionable perspective. As we embrace the new realities of what it takes to lead successful organizations, having a clear understanding of which interventions work and why they work is critical. Whether you are a leader, manager or organization development and change practitioner Burke and O’Malley provide the practical guidance you need to make a difference. -- Allan Church, Senior Vice President, Global Talent Management, PepsiCoIn composing Profitably Healthy Companies, Warner Burke and Michael O’Malley have done the impossible—they’ve produced a textbook on Organization Development that is genuinely interesting to read and useful to practitioners to boot! These authors, proven giants in the field of organization development, have brought their best interpretive work into this book. Burke and O’Malley’s love for teaching is evident in the pages of this book, heart and soul. As I read the book, I found myself learning so much new content that I kept texting my colleagues, “did you know this?” I predict that Profitably Healthy Companies will be a modern OD classic, on all our shelves going forward. Aside from being well organized and useful, Profitably Healthy Companies is perhaps the most well-written textbook I’ve seen. Brilliant piece of work. -- Thomas A. Kolditz, founding director, Doerr Institute for New Leaders at Rice University, and former head of Department of Behavioral Sciences and Leadership, West PointNo one knows the contemporary management literature better than Michael O’Malley and no one has been on the frontiers of scholarship and practice in organizational development longer than Warner Burke. Thus it was impossible that when these two united, they would create anything but a masterpiece of fresh, practical thought anchored in smart analysis. However, they went far further than providing a “new & improved’ OD book. They knew what was missing and filled the gap. The existing best practice in OD was heavily anchored in outside interventions parachuting into the firm to catalyze change – and then leave. Alas, too many great innovations ran their course and then fizzled often amidst a leadership succession. Profitably Healthy Companies shows how the capacity to learn, grow, change, and evolve must be in the DNA of enterprise. Through examples, research citations, and clear steps, this book provides the blueprint for internalization of continual leading through structures and processes. Thus, instead of hit & run engagements, skill at OD become a vital capacity of the enterprise to read and respond to its changing strategic context regardless whom is the boss. -- Jeffrey A. Sonnenfeld, senior associate dean for leadership studies and Lester Crown Professor in the Practice of Management, Yale School of ManagementWhat makes this book a gem is the easily accessible way in which theory is presented, the extensive examples from a variety of companies, and the clarity of the writing. This book will be a valuable resource to scholars, practitioners, and students. -- John L. Bennett, Professor, Director of Graduate Programs, and Wayland H. Cato, Jr. Chair of Leadership, Queens University of CharlotteTable of ContentsIntroduction1. Organization Development Basics2. Organize for Change3. Anticipate the Future4. Encourage Cooperation5. Remain Flexible6. Create Distinctive Spacesseven7. Diversify and Inclusify the Workforce8. Promote Personal Growth9. Empower People10. Reward High Performers11. Foster a Leadership CultureNotesIndex

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Book Synopsis

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Book Synopsis

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Book SynopsisTakes the reader on a journey from ethnological artifacts to kitsch. Posing the question, 'What does it mean to show?' this title explores the agency of display in a variety of settings: museums, festivals, world's fairs, historical re-creations, memorials, and tourist attractions.Table of ContentsList of Illustrations Acknowledgments Introduction part 1 The Agency of DisplayObjects of Ethnography Exhibiting Jews part 2 A Second Life as HeritageDestination Museum Ellis Island Plimoth Plantation part 3 Undoing the EthnographicConfusing Pleasures Secrets of Encounter part 4 Circulating ValueDisputing Taste Notes Index

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Book SynopsisFounded in the final years of the Enlightenment, the Louvre became the model for all state art museums subsequently established. This text chronicles the formation of the museum from its origins in the French royal picture collections to its apotheosis during the Revolution and Napoleonic Empire.Table of ContentsList of Illustrations Acknowledgments Introduction I The Luxembourg Gallery, I750-79 2 D' Angiviller's Louvre Project 3 The Revolutionary Louvre 4 The Musee Central des Arts 5 Alexandre Lenoir and the Museum of French Monuments Conclusion Appendix I Arrangement of Paintings in the Luxembourg Gallery, I750 Appendix II D' Angiviller's Grands Hommes of France, by Salon Appendix III Partial Reconstruction of the Hanging Scheme at the Musee Central des Arts in I797-8 Abbreviations Used in Notes Notes Bibliography Photographic Credits Index

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Book SynopsisTakes us around the world to tell the compelling story of how museums today are making sense of immigration and globalization. This book provides a close-up view of how different kinds of institutions balance nationalism and cosmopolitanism.Trade Review"An illuminating study that will be of interest to academics and museum professionals working in the field today." Publishers Weekly "Ambitious, well-written, and significant." Library Journal "Experimental - interdisciplinary, cross-cultural, self-critical, heterodox - approaches to art will have to be tried out if an audience for history, which is only as alive as our sense of investment in it, is not to be lost. (For a comparative look at some recent methods, I recommend Peggy Levitt's 'Artifacts and Allegiances: How Museums Put the Nation and the World on Display,'" -- Holland Cotter New York Times "Artifacts and Allegiances is a compelling narrative whose insight and passion is well-supported by rich and rigorous sociological analysis, ultimately offering a welcome contribution to scholars across disciplines interested in museums, global politics, and the culture of place." SocietyTable of ContentsAcknowledgments Introduction 1. The Bog and the Beast: The View of the Nation and the World from Stockholm, Copenhagen, and Gothenburg 2. The Legislator and the Priest: Cosmopolitan Nationalism in Boston and New York 3. Arabia and the East: How Singapore and Doha Display the Nation and the World Conclusion Notes Bibliography List of Plates Image Credits Index

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Book SynopsisNineteenth-century “salvage anthropology” preserved millions of Indigenous objects, sources of knowledge invaluable to researchers and the public. But many of these objects were stolen, and for decades exhibited as proof of cultural evolution. Samuel Redman details the tangled history and explores how we might contend with such collections today.Trade ReviewA must-read for anyone seeking to confront racist worldviews and make the world a better place for all. -- Paulette Steeves * Science *Redman tells the grim story of decades-long elite capture of Native cultures, while the US government and expansionist industries gained control of lands and waters from sea to sea. Decolonization requires recognition of the colonization process, and Redman’s book is a landmark contribution to that effort. -- Barbara Miller * American Anthropologist *A sweeping overview of the history and continued legacy of salvage anthropology in the United States…Redman’s work connects the complex histories of these practices to their ongoing implications for museums today, offering a major contribution to how we recognize their legacies for today’s efforts to decolonize collections, repatriate objects, and forge community partnerships. -- Reed Gochberg * American Nineteenth Century History *Prophets and Ghosts is a rich and eye-opening book, and Redman does not shy away from taking a hard look at the troubled and troubling legacy of salvage anthropology. It’s deeply researched, beautifully written—a real pleasure to read. -- Lukas Rieppel * New Books Network *Redman nuances the history of salvage anthropology…[and] recounts the stories of individual collectors, humanizing these anthropologists, Indian agents, missionaries, and Native people, while stressing the seriousness and urgency of their often-obsessive collecting practices. -- Klinton Burgio-Ericson * Journal of Anthropological Research *Essential…For any museum professional or anthropologist hoping to build an ethical and progress-oriented career, Prophets and Ghosts is an excellent guide to recognizing and reconciling with salvage anthropology. -- Sara Polk * Museum Studies Blog *An engaging account of the development of salvage anthropology in the United States during the nineteenth century…[Redman] does not shy away from the darker side of early acquisitions of Indigenous people’s culture in American museums. -- Crystal McColl * Fwd: Museums Journal *Illuminating…Prophets and Ghosts would be a suitable introduction for many, and any of the individual chapters would provide a good background of where salvage anthropology came from…and where it could go. -- Jaime M. N. Lavallee * Journal of the Native American and Indigenous Studies Association *Prophets and Ghosts is [Redman’s] latest work to examine the intersection between the history of museums and the rise of anthropology as a discipline…He argues that even with the problems inherent in early museums’ efforts to understand race and ‘primitive’ civilizations, their attempts ultimately produced some unexpected and surprising results. -- Robert Cassanello * Journal of American History *Redman has not only become anthropology’s leading historian but also its conscience. Through methodical research and insightful analysis, Prophets and Ghosts provides a window into the motives and practices of ‘salvaging’ cultures often assumed to be on the precipice of destruction. It reveals all the disciplinary successes and failures—and moral contradictions and paradoxes—in this moment that laid the groundwork for how the world thinks of cultures and Indigenous peoples. This is a history that is still resonant today. -- Chip Colwell, author of Plundered Skulls and Stolen Spirits: Inside the Fight to Reclaim Native America’s CultureAn original, masterful work on a rich and important topic. Redman looks at the idea of salvage as both preservation and as part of a larger cultural phenomenon—the establishment of a diverse cultural history for the nation—with all the implications this had for the Indigenous peoples being studied and ‘saved.’ -- Nancy J. Parezo, coauthor of Anthropology Goes to the Fair: The 1904 Louisiana Purchase ExpositionRedman interrogates the origins of salvage anthropology by delving into the resonance of encounters and collections that, reflecting an emphasis on preservation at all costs, still haunt us today. He effectively exposes the entanglements among nationalistic impulses, colonial nostalgia, and assimilationist policies that shaped museum representations of the Indigenous well into the mid-twentieth century. -- Margaret M. Bruchac, author of Savage Kin: Indigenous Informants and American AnthropologistsThis book is a gem! Redman traces the nineteenth-century salvage anthropology movement in the United States, designed to preserve the material culture of Native Americans portrayed on the verge of extinction. Especially important are the many negative consequences of this movement, which last to this day. -- Laura Nader, author of Laura Nader: Letters to and from an AnthropologistThe ‘salvage’ of all things Indian was driven by scientific curiosity, but Redman shows how that curiosity was also driven by an insatiable obsession with objects rather than the people who produced them. This book provides a broad, often troubling, picture behind the impetus to collect everything before the Indians ‘vanished.’ -- Joe Watkins, author of Indigenous Archaeology: American Indian Values and Scientific PracticeRedman offers an impressive exploration of the strange history of salvage anthropology and its efforts to document Native cultures before their presumed disappearance before the forward march of history. With its detailed archival findings, clear writing, and comprehensive analysis, Prophets and Ghosts is a fine piece of scholarship. -- Orin Starn, author of Ishi’s Brain: In Search of America’s Last “Wild” Indian

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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 SynopsisThis vibrant examination of the museum’s role as contemporary narrator of our past reveals that our perceptions of history and ourselves are shaped as much by how a museum presents information as by what information it presents.Trade ReviewViviane Gosselin and Phaedra Livingstone have created, for the first time ever, a book that looks at the relationship between museums and the concept of historical consciousness. In doing so, they are pioneering both museological and historical literature, and greatly contributing to an under-researched field. -- Cintia Velázquez Marroni * Museum Management and Curatorship *Table of Contents1 Introduction: Perspectives on Museums and Historical Consciousness in Canada / Viviane Gosselin and Phaedra LivingstonePart 1: Programming Historical Consciousness2 The Royal Ontario Museum, the Dead Sea Scrolls, and Critical Public Engagement / Susan Ashley3 The Voices of the Canoe Project: Weaving Together Indigenous and Western Historical Knowledge Traditions / Jill Baird and Damara Jacobs-Morris4 The Torrington Gopher Hole Museum: A Model Institution / Lianne McTavish5 Public Pedagogy and the Museum: The Canadian Museum of Immigration at 21, for Example / Brenda TrofanenkoPart 2: Measuring Historical Consciousness6 Changing Views? Emotional Intelligence, Registers of Engagement, and the Museum Visit / Laurajane Smith7 Using Museum Resources and Mobile Technologies to Develop Teens’ Historical Thinking: Formative Evaluation of an Innovative Educational Set-up / Marie-Claude Larouche8 Museums as In-Between Institutions: Can They Be Trusted? / Lon Dubinsky and Del Muise9 The Concept of Historical Consciousness Applied to Museums: A Case Study of the Exhibition People of Québec ... Then and Now / Pierre-Luc Collin, Claire Cousson, and Lucie DaignaultPart 3: Instrumentalizing Historical Consciousness10 Controversy as Catalyst: Administrative Framing, Public Perception, and the Late-Twentieth-Century Exhibitionary Complex in Canada / Phaedra Livingstone11 The Gift of Historical Consciousness: Museums, Art, and Poverty / Simon Knell12 Museums and the Responsibility Gap / Robert R. Janes13 Out of the Box and Into the Fold: Museums, Human Rights, and Changing Pedagogical Practices / Jennifer Carter14 Epilogue: The Blossoming of Canadian Museology and Historical Consciousness / Phaedra Livingstone and Viviane GosselinIndex

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