This book examines the complex and conflicting relationships between LGBT people and our cultural and heritage organisations including libraries, museums and archives. In this unique book established author John Vincent draws together current good practice, and also highlights issues which urgently still need to be addressed. To set the work of libraries, museums and archives in context, Vincent traces the development of LGBT rights in the UK. He goes on to examine some of the reasons for hostility and hatred against this minority group and critically explores provision that has been made by cultural and heritage organisations. He offers examples of good practice - not only from the UK, but from across the world - and draws up an essential 'charter' for future development. This compelling, practical book should be read by managers and staff in libraries, museums and archives around the world looking for guidance on this important issue.

Plural Heritages and Community Co-production is a landmark contribution on the nature and plurality of heritages and how they can be creatively and ethically presented in urban space. Providing an overview of the concept of plural heritages, this book explores the theory, politics, and practice of community co-production as they intersect with currents in critical heritage thinking, walking as ethnography, and digital design methods. Told through a central case study in Istanbul, Turkey, this volume aligns with cultural and political imperatives to consider the plural values, meanings, affects, and relativities of heritage sites for the multiple communities who live - or, as for diaspora and displaced groups, have lived - with them. It suggests a range of methods for locating and valorising alternative perspectives to those centrally deployed through museums or other institutions, such as UNESCO World Heritage listing, while also exploring the complexities of the past in the present and the ontology of heritage. Plural Heritages and Community Co-production will be of great interest to researchers, academics, postgraduate students in the fields of heritage and memory studies, museum studies, history, geography, cultural studies, sociology, anthropology, and politics. The book will also be of interest to heritage professionals, policy makers, and site managers involved in community engagement and participation.

Applying for Jobs and Internships in Museums offers a straightforward approach to applying for positions within a museum. Martha M. Schloetzer provides practical advice about the application and interview process that will prepare emerging museum professionals as they approach the profession. From reviewing job and internship postings to developing a solid resume and writing distinctive cover letters, this guide provides practical, sound advice for museum job seekers. Schloetzer integrates the stories of successful and unsuccessful interns and job applicants throughout the book's narrative, and recognizing the additional challenges faced by non-US nationals, the book also offers information specifically for international students seeking work experience in US museums. The insider information included in Applying for Jobs and Internships in Museums makes it a key resource for both a US and international audience interested in gaining museum experience in the US. It will be of particular interest to college-level and graduate school students, as well as recent graduates. The guide can also serve as a reference in the classroom, helping professors and instructors prepare students for the job search ahead.

As one of the most monumental and recognisable landmarks from Zanzibar's years as a British Protectorate, the distinctive domed building of the Zanzibar Museum (also known as the Beit al-Amani or Peace Memorial Museum) is widely known and familiar to Zanzibaris and visitors alike. Yet the complicated and compelling history behind its construction and collection has been overlooked by historians until now. Drawing on a rich and wide range of hitherto unexplored archival, photographic, architectural and material evidence, this book is the first serious investigation of this remarkable institution. Although the museum was not opened until 1925, this book traces the longer history of colonial display which culminated in the establishment of the Zanzibar Museum. It reveals the complexity of colonial knowledge production in the changing political context of the twentieth century British Empire and explores the broad spectrum of people from diverse communities who shaped its existence as staff, informants, collectors and teachers. Through vivid narratives involving people, objects and exhibits, this book exposes the fractures, contradictions and tensions in creating and maintaining a colonial museum, and casts light on the conflicted character of the 'colonial mission' in eastern Africa.

What is the relationship between creativity, cultural heritage institutions and copyright? Who owns culture and cultural heritage? The digital age has expanded the horizon of creative possibilities for artists and cultural institutions - what is the impact on legal regimes that were constructed for an analogue world? What are the tensions between the safeguarding of cultural heritage and the dissemination of knowledge about culture? Inspired by a three year research project involving leading European universities, this book explores the relationship between copyright and intellectual property, creativity and innovation, and cultural heritage institutions. Its contributors are scholars from both the humanities and the social sciences - from cultural studies to law - as well as cultural practitioners and representatives from cultural heritage institutions. They all share an interest in the contribution of intellectual property to the role of cultural institutions in making culture accessible and encouraging new creativity.

This collection brings together a group of highly respected law and religion scholars to explore the funding of religious heritage in the context of state support for religions. The importance of this state support is that on the one hand it illustrates the potential tensions between secular and religious values, whilst on the other it constitutes a relevant tool for investigating the question of the legitimacy of such financial support. The funding logically varies according to the national system of state-religion relationships and this is reflected in the range of countries studied, including: Belgium, Bulgaria, Denmark, France, Italy, The Netherlands, Spain, Turkey, and the United Kingdom. The book provides clarity in the assignment of funds to religious heritage, as well as seeking to define the limit of what relates to the exercise of worship and what belongs to cultural policy. It is clear that the main challenge for the future lies not only in managing the dual purpose of religious monuments, but also in re-using these buildings which have lost their original purpose. This collection will appeal to those interested in cultural heritage management, as well as law and religion scholars. The views expressed during the execution of the RELIGARE project, in whatever form and or by whatever medium, are the sole responsibility of the authors. The European Union is not liable for any use that may be made of the information contained therein.

This book traces the international performance history of Aristophanic comedy, and its implication in aesthetic and political controversies, from 421 BC to AD 2007. It includes Brechtian experiments in East Berlin, and musical theatre from Gilbert and Sullivan to Stephen Sondheim.

Most museums collections contain a wide variety of natural materials, and a diverse range of knowledge is necessary to keep so many types of objects at their best. This book studies the composition, structure and properties of natural materials such as wood, paper, amber, coral and feathers, and discusses the potential hazards they face, as well as the appropriate conservation techniques to use for each. Providing plenty of detail in an easily accessible format, Natural Materials is a useful resource for students, professionals and collectors alike.

Scientists have long been looking for alternative methods for the cleaning of historical and cultural museum objects as conventional methods often fail to completely remove surface films, leaving contamination and surface residues behind. Low-temperature plasmas have recently been found to provide a new, efficient and durable approach that maintains the safety of both the materials and personnel. This book is the first to introduce the emerging use of low-temperature plasmas in the cleaning and decontamination of cultural heritage items. It provides a comprehensive exploration of the new possibilities of cleaning objects with plasma, before providing a practice guide to the individual cleaning methods and an overview of the technologies and conditions used in the different cleaning regimes. It is an ideal reference for researchers in plasma physics, in addition to professionals working in the field of historical and cultural conservation. Features: Provides a thorough overview of the cleaning potential of emerging plasma technologies in accessible language for professional restorers and conservators without a scientific background Includes the latest case studies from the field, which have not been published elsewhere yet Authored by a team of experts in the field About the Authors: Dr. Radko Tino is an Associate Professor at the Slovak University of Technology in Bratislava, Slovakia. Dr. Katarina Vizarova is an Associate Professor at the Slovak University of Technology in Bratislava, Slovakia. Dr. Frantisek Krcma is an Associate Professor at Brno University of Technology, Czech Republic. Dr. Milena Rehakova is an Associate Professor at the Slovak University of Technology in Bratislava, Slovakia. Dr. Viera Jancovicova is an Associate Professor at the Slovak University of Technology in Bratislava, Slovakia. Dr. Zdenka Kozakova is an Associate Professor at Brno University of Technology, Czech Republic.

This book challenges traditional approaches to heritage interpretation and offers an alternative theoretical architecture to the current research and practice. Russell Staiff suggests that the dialogue between visitors and heritage places has been too focused on learning outcomes, and so heritage interpretation has become dominated by psychology and educational theory, and over-reliant on outdated thinking. Using his background as an art historian and experience teaching heritage and tourism courses, Russell Staiff weaves personal observation with theory in an engaging and lively way. He recognizes that the 'digital revolution' has changed forever the way that people interact with their environment and that a new approach is needed.

Even though the idea of altering an existing building is presently a well established practice within the context of adaptive reuse, when the building in question is a 'mnemonic building', of recognized heritage value, alterations are viewed with suspicion, even when change is a recognized necessity. This book fills in a blind spot in current architectural theory and practice, looking into a notion of conservation as a form of invention and imagination, offering the reader a counter-viewpoint to a predominant western understanding that preservation should be a 'still shot' from the past. Through a micro-historical study of a Renaissance concept of restoration, a theoretical framework to question the issue of conservation as a creative endeavor arises. It focuses on Tiberio Alfarano's 1571 ichnography of St. Peter's Basilica in the Vatican, into which a complex body of religious, political, architectural and cultural elements is woven. By merging past and present temple's plans, he created a track-drawing questioning the design pursued after Michelangelo's death (1564), opening the gaze towards other possible future imaginings. This book uncovers how the drawing was acted on by Carlo Maderno (1556-1629), who literally used it as physical substratum to for new design proposals, completing the renewal of the temple in 1626. Proposing a hybrid architectural-conservation approach, this study shows how these two practices can be merged in contemporary renovation. By creating hybrid drawings, the retrospective and prospective gaze of built conservation forms a continuous and contiguous reality, where a pre-existent condition engages with future design rejoining multiple temporalities within continuity of identity. This study might provide a paradigmatic and timely model to retune contemporary architectural sensibility when dealing with the dilemma between design and preservation when transforming a building of recognized significance.

The role of museums in enhancing well-being and improving health through social intervention is one of the foremost topics of importance in the museums sector today. With an aging population and emerging policies on the social responsibilities of museums, the sector is facing an unprecedented challenge in how to develop services to meet the needs of its communities in a more holistic and inclusive way. This book sets the scene for the future of museums where the health and well-being of communities is top of the agenda. The authors draw together existing research and best practice in the area of museum interventions in health and social care and offer a detailed overview of the multifarious outcomes of such interactions, including benefits and challenges. This timely book will be essential reading for museum professionals, particularly those involved in access and education, students of museums and heritage studies, as well as practitioners of arts in health, art therapists, care and community workers.

Oceania, or the South Pacific, loomed large in the Victorian popular imagination. It was a world that interested the Victorians for many reasons, all of which suggested to them that everything was possible there. This collection of essays focuses on Oceania's impact on Victorian culture, most notably travel writing, photography, international exhibitions, literature, and the world of children. Each of these had significant impact. The literature discussed affected mainly the middle and upper classes, while exhibitions and photography reached down into the working classes, as did missionary presentations. The experience of children was central to the Pacific's effects, as youthful encounters at exhibitions, chapel, home, or school formed lifelong impressions and experience. It would be difficult to fully understand the Victorians as they understood themselves without considering their engagement with Oceania. While the contributions of India and Africa to the nineteenth-century imagination have been well-documented, examinations of the contributions of Oceania have remained on the periphery of Victorian studies. Oceania and the Victorian Imagination contributes significantly to our discussion of the non-peripheral place of Oceania in Victorian culture.

Examining the wide-ranging implications of Ruskin's engagement with his contemporaries and followers, this collection is organized around three related themes: Ruskin's intellectual legacy and the extent to which its address to working men and women and children was realised in practice; Ruskin's followers and their sites of influence, especially those related to the formation of collections, museums, archives and galleries representing values and ideas associated with Ruskin; and the extent to which Ruskin's work constructed a world-wide network of followers, movements and social gestures that acknowledge his authority and influence. As the introduction shows, Ruskin's continuing digital presence is striking and makes a case for Ruskin's persistent presence. The collection begins with essays on Ruskin's intellectual presence in nineteenth-century thought, with some emphasis on his interest in the education of women. This section is followed by one on Ruskin's followers from the mid-nineteenth century into twentieth-century modernism that looks at a broad range of cultural activities that sought to further, repudiate, or exemplify Ruskin's work and teaching. Working-class education, the Ruskinian periodical, plays, and science fiction are all considered along with the Bloomsbury Group's engagement with Ruskin's thought and writing. Essays on Ruskin abroad-in America, Australia, and India round out the collection.

Archaeology's links to international relations are well known: launching and sustaining international expeditions requires the honed diplomatic skills of ambassadors. U.S. foreign policy depends on archaeologists to foster mutual understanding, mend fences, and build bridges. This book explores how international partnerships inherent in archaeological legal instruments and policies, especially involvement with major U.S. museums, contribute to the underlying principles of U.S. cultural diplomacy. Archaeology forms a critical part of the U.S. State Department's diplomatic toolkit. Many, if not all, current U.S.-sponsored and directed archaeological projects operate within U.S. diplomatic agendas. U.S. Cultural Diplomacy and Archaeology is the first book to evaluate museums and their roles in presenting the past at national and international levels, contextualizing the practical and diplomatic processes of archaeological research within the realm of cultural heritage. Drawing from analyses and discussion of several U.S. governmental agencies' treatment of international cultural heritage and its funding, the history of diplomacy-entangled research centers abroad, and the necessity of archaeologists' involvement in diplomatic processes, this seminal work has implications for the fields of cultural heritage, anthropology, archaeology, museum studies, international relations, law, and policy studies.

In this compilation, first published in 1999, Ian Ledsham compiles an extensive catalogue of the Shaw-Hellier Collection, complete with diagrams regarding how we use text.

Graphic Design in Museum Exhibitions offers an in-depth analysis of the multiple roles that exhibition graphics perform in contemporary museums and exhibitions. Drawing on a study of exhibitions that took place at the Victoria and Albert Museum, London, the Museum of London and the Haus der Geschichte, Bonn, Piehl brings together approaches from museum studies, design practice and narrative theory to examine museum exhibitions as multimodal narratives in which graphics account for one set of narrative resources. The analysis underlines the importance of aspects such as accessibility and at the same time problematises conceptualisations that focus only on the effectiveness of graphics as display device, by drawing attention to the contributions that graphics make towards the content on display and to the ways in which it is experienced in the museum space. Graphic Design in Museum Exhibitions argues for a critical reading of and engagement with exhibition graphic design as part of wider debates around meaning-making in museum studies and exhibition-making practice. As such, the book should be essential reading for academics, researchers and students from the fields of museum and design studies. Practitioners such as exhibition designers, graphic designers, curators and other exhibition makers should also find much to interest them in the book.

This project contributes to our understanding of rural Midwesterners and farm newspapers at the turn of the century. While cultural historians have mainly focused on readers in town and cities, it examines Midwestern farmers. It also contributes to the "new rural history" by exploring the ideas of Hal Barron and others that country people selectively adapted the advice given to them by reformers. Finally, it furthers our understanding of American farm newspapers themselves and offers suggestions on how to use them as sources.

Revisiting Museums of Influence presents 50 portraits of a range of European museums that have made striking innovations in public quality over the past 40 years. In so doing, the book demonstrates that excellence can be found in museums no matter their subject matter, scale, or source of funding. Written by leading professionals in the field of museology, who have acted as judges for the European Museum of the Year Award, the portraits describe museums that had, or should have had, an influence on other museums around the world. The portraits aim to capture the moment when this potential was identified, and the introduction will locate the institutions in the wider history of museums in Europe over the period, as well as drawing out common themes of change and innovation that unite the portraits. Providing many very diverse portraits, Revisiting Museums of Influence captures the immense capacity of the museum to respond to changing societal needs. As a result, the book will be essential reading for students of museology and museum professionals around the world in shaping the museums they wish to create. Scholars and students of art history, archaeology, ethnography, anthropology, cultural and visual studies, architecture, memory studies and history will also find much to interest them.

The essays collected in this book were delivered at the XLII Spring Symposium of Byzantine Studies, held in London in 2009 to accompany the exhibition Byzantium 330-1453, at the Royal Academy. The exhibition was one of the most ambitious and complex exhibitions ever mounted at the Royal Academy, as well as one of the most popular, and the overall aim of the book is to reflect on the exhibition of Byzantine art, both as an academic and popular exercise, and through the choice and discussion of individual objects. Exhibitions present a very different picture of Byzantium and its culture from works of history. The choices of object for display, their arrangement, and the underlying aims of exhibition curators and designers mean that every exhibition presents a different picture of Byzantium. Particular emphases can be placed, whether on everyday life or high court culture; Constantinople or the provinces; or claims of continuity or change over the Byzantine millennium. The essays explore aspects of the image of Byzantium that results from these choices. Given the enormous popularity of exhibitions of Byzantine objects (continued after the completion of this volume by exhibitions in Paris, Bonn and Istanbul), art has become one of the most popular and accessible means of popularizing Byzantium to a wide public audience. Hitherto there has been no general consideration of either the historiography of Byzantine exhibitions or the ways in which they have been set up to present different aspects of Byzantine culture to an academic and general public. The essays are divided into 3 sections: Exhibiting Byzantium sets the 2009 exhibition into the context of other exhibitions of Byzantine art and considers the issues involved in curating and viewing such major collections of medieval art; Object Lessons offers a set of studies of individual objects that were in the exhibition; Byzantium through its Art moves to consider Byzantine art more widely, thinking about the different ways in which objects can be used to study Byzantine culture and society. These are preceded by an introduction by the editors which sets the volume in context.

Museums and the Challenge of Change explores the profound challenges facing museums and charts ways forward that are grounded in partnership with audiences and communities on-site, online, and in wider society. Facing new generations with growing needs and desires, growing population diversity, and a digital revolution, the museum sector knows it must change - but it has been slow to respond. Drawing on the expertise and voices of practitioners from within and beyond the sector, Black calls for a change of mind-set and radical evolution (transformation over time, learning from the process, rather than a 'big bang' approach). Internally, a participative environment supports social interaction through active engagement with collections and content - and Black includes an initial typology of participative exhibits, both traditional and digital. Externally, the museum works in partnership with local communities and other agencies to make a real difference, in response to societal challenges. Black considers what this means for the management and structure of the museum, emphasising that it is not possible to separate the development of a participative experience from the ways in which the museum is organised. Museums and the Challenge of Change is highly practical and focused on initiatives that museums can implement swiftly and cheaply, making a real impact on user engagement. The book will thus be essential reading for museum practitioners and students of museum studies around the globe.

Museum Bodies provides an account of how museums have staged, prescribed and accommodated a repertoire of bodily practices, from their emergence in the eighteenth century to the present day. As long as museums have existed, their visitors have been scrutinised, both formally and informally, and their behaviour calibrated as a register of cognitive receptivity and cultural competence. Yet there has been little sustained theoretical or practical attention given to the visitors' embodied encounter with the museum. In Museum Bodies Helen Rees Leahy discusses the politics and practice of visitor studies, and the differentiation and exclusion of certain bodies on the basis of, for example, age, gender, educational attainment, ethnicity and disability. At a time when museums are more than ever concerned with size, demographic mix and the diversity of their audiences, as well as with the ways in which visitors engage with and respond to institutional space and content, this wide-ranging study of visitors' embodied experience of the museum is long overdue.

Museums of the Arabian Peninsula offers new insights into the history and development of museums within the region. Recognising and engaging with varied approaches to museum development and practice, the book offers in-depth critical analyses from a range of viewpoints and disciplines. Drawing on regional and international scholarship, the book provides a critical and detailed analysis of museum and heritage institutions in Bahrain, Jordan, Kuwait, Oman, Qatar, Saudi Arabia, the UAE and Yemen. Questioning and engaging with issues related to the institutionalisation of cultural heritage, contributors provide original analyses of current practice and challenges within the region. Considering how these challenges connect to broader issues within the international context, the book offers the opportunity to examine how museums are actively produced and consumed from both the inside and the outside. This critical analysis also enables debates to emerge that question the appropriateness of existing models and methods and provide suggestions for future research and practice. Museums of the Arabian Peninsula offers fresh perspectives that reveal how Gulf museums operate from local, regional and transnational perspectives. The volume will be a key reference point for academics and students working in the fields of museum and heritage studies, anthropology, cultural studies, history, politics and Gulf and Middle East Studies.

Conservation of Easel Paintings, Second Edition provides a much-anticipated update to the previous edition, which has come to be known internationally as an invaluable and comprehensive text on the history, philosophy and methods of the treatment of easel paintings. Including 49 chapters written by more than 90 respected authors from around the world, this volume offers the necessary background knowledge in technical art history, artists' materials and scientific methods of examination and documentation. Later sections of the book provide information about the varying approaches and methods for treatment and issues of preventive conservation, as well as valuable reflections on storage, shipping, and exhibition. Including exciting developments that have taken place since the last edition was published, the book also covers new techniques of examination, especially MacroXRF scanning and Reflectance Transmission Imagery. Drawing on research presented at recent professional conferences, information about innovative methods for cleaning modern and contemporary paintings and insights into modern oil paints is also included. Incorporating the latest regulations and understanding of health and safety practices and integrating theory with practice throughout, Conservation of Easel Paintings, Second Edition will continue to be an indispensable reference for practicing conservators. It will also be an essential resource for students taking conservation courses around the world.

Heritage and Religion in East Asia examines how religious heritage, in a mobile way, plays across national boundaries in East Asia and, in doing so, the book provides new theoretical insights into the articulation of heritage and religion. Drawing on primary, comparative research carried out in four East Asian countries, much of which was undertaken by East Asian scholars, the book shows how the inscription of religious items as "Heritage" has stimulated cross-border interactions among religious practitioners and boosted tourism along modern pilgrimage routes. Considering how these forces encourage cross-border links in heritage practices and religious movements in China, Taiwan, South Korea, and Japan, the volume also questions what role heritage plays in a region where Buddhism, Taoism, and other various folk religious practices are dominant. Arguing that it is diversity and vibrancy that makes religious discourse in East Asia unique, the contributors explore how this particularity both energizes and is empowered by heritage practices in East Asia. Heritage and Religion in East Asia enriches understanding of the impact of heritage and religious culture in modern society and will be of interest to academics and students working in heritage studies, anthropology, religion, and East Asian studies.