Orality / Oral transmission Books

Book SynopsisProgramming for People with Special Needs: A Guide for Museums and Historic Sites will help museums and historic sites become truly inclusive educational experiences. The book is unique because it covers education and inclusion for those with both intellectual and learning disabilities.The book features the seven key components of creating effective programming for people with special needs, especially elementary and secondary students with intellectual disabilities:Sensitivity and awareness trainingPlanning and communicationTimingEngagement and social/life skillsObject-centered and inquiry-based programsStructureFlexibilityIn addition, this book features and discusses programs such as the Museum of Modern Arts Meet Me program and ones for children with autism at the Transit Museum in Brooklyn as models for other organizations to adapt for their use. Its focus on visitors of all ages who have cognitive or intellectual disabilities or special needs makes this title essential for all musTrade ReviewProgramming for People with Special Needs is an invaluable manual with clear, concise examples of how museums benefit when they open their doors, exhibits, and programing to all audiences in a community. A commitment to common-sense universal design principles opens the dialogue about what matters in our history and culture to every citizen, thus enriching our communities through better education and community engagement. * AASLH History News *Programming for People with Special Needs is an invaluable manual with clear, concise examples of how museums benefit when they open their doors, exhibits, and programming to all audiences in a community. A commitment to common-sense universal design principles opens the dialogue about what matters in our history and culture to every citizen, thus enriching our communities through better education and community engagement. -- Carroll Van West, director of the Center for Historic Preservation at Middle Tennessee University, and Tennessee State HistorianProgramming for People with Special Needs is an important new resource for any museum or historic site serious about expanding their current audience base and preparing for tomorrow’s visitors. While the ADA already requires us to accommodate visitors’ physical needs, it is equally important that our programs consider the needs of visitors experiencing various forms of learning and intellectual disabilities, including memory loss, especially since their numbers are expected to increase dramatically over the next several decades. This thorough and practical volume can help your institution accomplish this goal and, in turn, become a museum or historic site better prepared for the future. -- Karen Graham Wade, director, Homestead Museum, City of Industry, CaliforniaTable of ContentsPreface Chapter 1: Museums, Education, and Accessibility Chapter 2: Sensitivity and Awareness: Preparing the Museum and Staff Chapter 3: Universal Design at Museums and Historic Sites Chapter 4: Model Programs of Accessibility at Museums in the United States Chapter 5: A Case Study and Model for Museums and Historic Sites: Seven Key Elements of Effective Programs Chapter 6: Conclusions: Making a Difference in Your Community Appendixes Bibliography Suggested Reading

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Book SynopsisElizabeth Edwards is Research Professor of Photographic History and Director of the Photographic History Research Centre, De Montfort University, Leicester, UK.Christopher Morton is Curator of Photograph and Manuscript Collections at the Pitt Rivers Museum, Oxford, UK and Lecturer in Visual and Material Anthropology at the Institute of Social and Cultural Anthropology, University of Oxford, UK.Trade ReviewWhoever suspected that museums’ photography collections could be digitized and then discarded will change their mind after reading this groundbreaking book that brings together leading academics and curators. Anonymous and mostly uncatalogued photographs are restored with not only their biographies, but also a material future, as a key to a broader understanding of collecting history. * Dr Costanza Caraffa, Head of Photo Library, Kunsthistorisches Institut in Florenz, Max Planck Institute, Italy *With breadth of vision and depth of understanding, this editorial collaboration constitutes a critical addition to the self-reflexive literature on museum history and practice, at the same time enlarging the history of photography as a field of study and shifting it onto a robust institutional plane. * Joan M. Schwartz, Professor, History of Photography, Queen’s University, Kingston, Canada *This book is a compilation of essays about collecting and curatorial practices unique to photographic collections. The editors argue that issues related to the technical, ephemeral, and serial qualities of photographs, along with the medium’s relatively short history, have led to their marginalization within museums, yet these collections are ‘increasingly being understood as knowledge-objects in their own right.’ An introductory chapter provides a theoretical and historical overview of the place of photographic collections in the museum setting. Developed as part of an international conference held in Leicester, England, and organized into five topical sections, the essays explore several notable photographic collections, the information value of photographs, the history of collecting photographs, and curatorial practices for photograph collections. Essays detailing how portrait photography solidified Charles Darwin’s professional network and aided his work on evolution, examining photographs documenting revolution in Cuba of the 1950s and 1960s, and creating images of the Maori people of New Zealand illustrate the breath of this volume. It will be of particular interest to students of photographic history and museum professionals. Summing Up: Recommended. Graduate, research, and professional collections. -- P. A. Mohr, independent scholar * CHOICE *Table of ContentsList of Plates and Figures Notes on Contributors Preface 1. Between Art and Information: Introduction, Elizabeth Edwards (De Montfort University, Leicester, UK) and Christopher Morton (Pitt Rivers Museum, Oxford, UK) PART I BECOMING COLLECTIONS 2. Multiple Collections and Fluid Meanings: Alfred Maudslay’s Archaeological Photographs at the British Museum, Duncan Shields (De Montfort University, Leicester, UK) 3. Self Assembled: Isabella Stewart Gardner’s Photographic Albums and the Development of her Museum, 1902-1924, Casey Riley (Boston University, USA) 4. ‘An Invitation to Visit Windermere’: Moments of Departure and Return in the Biography of the Bryan Heseltine Collection, Darren Newbury (University of Brighton, UK) 5. Private to Public: the David MacGregor Maritime Photographic Collection, Eleni Papavasileiou (SS Great Britain Trust, UK) PART II SCIENTIFIC DOCUMENTS 6. Collecting Portraiture, Exhibiting Race: Augustus Pitt-Rivers’s Photographs at the South Kensington Museum, Christopher Morton (Pitt Rivers Museum, Oxford, UK) 7. Collecting Photographs, Constructing Disciplines: the Rationality and Rhetoric of Photography at the Museum of Economic Botany, Caroline Cornish (Royal Holloway, UK) 8. Photographs as Scientific and Social Objects in the Correspondence of Charles Darwin, Geoff Belknap (University of Leicester) and Sophie Defrance (University of Cambridge) PART III SHAPED IN HISTORY 9. Revolutionary photographs: the Museo de la Revolución, Havana, Cuba, Kristine Juncker (De Montfort University, Leicester, UK) 10. Photography in Jersey under German Occupation: the 1940 ‘Order Concerning Open-air Photography’ and Photography at the Société Jersiaise Museum, Gareth Syvret (De Montfort University, Leicester, UK) 11. From Them to Us: Changing Meanings of Photographs of Mäori at Te Papa, Athol Mc Credie (Museum of New Zealand Te Papa Tongarewa) PART IV CURATORIAL PRACTICES 12. Unwrapping the Layers: Translating Photograph Albums into an Exhibition Context, Ulrike Bessel (DASA Working World Exhibition in Dortmund, Germany) 13. To Collect and Preserve Negatives: the Eli Lotar Collection at the Centre Georges Pompidou, Damarice Amao (Paris Sorbonne, France) 14. Looking for Bolton in the Worktown Archive, Caroline Edge (Bolton Museum/University, UK) Index

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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 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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