This important book assesses the current state of disaster management in archives, libraries and museums in the UK and around the world, and provides recommendations for addressing current and future threats. Following an introductory outline of the topic and terminology, the authors provide a short history of the development of disaster management in the cultural heritage sector. They illustrate a basic framework for effective disaster management by reviewing disaster control plan practice from around the world. Through examining and identify the key issues affecting disaster management in archives, libraries and museums, the authors discuss a priority structure for future implementation. This book will be key reading for scholars and students of archive studies, library and information and museum management. It will also be extremely useful for professionals and policy makers involved in disaster management planning at a local and national level.

Historic preservation, whether of landscapes or buildings, was an important development of the nineteenth century in many countries. There is however surprisingly little understanding about how it took place, and research into it is narrowly focused. For example, generally landscape preservation from this time is examined separately from buildings; preservation is seen in terms of national narratives, or considered within the contexts of area studies, and it is usually seen from a specific disciplinary perspective. All of these later categorizations did not apply at the time and consequently, a very partial view is achieved. In order to begin unlocking a very complex phenomenon that has helped to define our own age, this dynamic collection of essays brings together an international and transdisciplinary line-up of academics and practitioners to reconsider preservation's origins in the second half of the nineteenth and early part of the twentieth century. With a focus on Britain and the British Empire, and including case studies from the United States, Canada, Sweden, France, Germany, Sri Lanka, 'The Holy Land', and Turkey, this book places preservation in imperial, international, and national contexts, demonstrating that there was far more interaction between different countries in this arena than may be supposed and revealing remarkable but hitherto hidden overlaps and intersections. It examines three main themes: the influence of religion; the political and sub-diplomatic aspects of preservation; and the professionalization of preservation practice. Internationalizing trends already existed through the churches, the universities, and the diplomatic services, as well as familial ties that had an important impact on preservation's epistemic communities and its targets. Other internationalizing factors include an interest in national histories and the histories of architecture and art, particularly when known through illustration; a growing interest in biography especially of 'founding fathers' or famous literary figures; and tourism. Although the focus is on architectural preservation, this book demonstrates that, in this formative period, the preservation of buildings and landscapes needs to be considered together - as it often was at the time - and in context. The conclusion reached is that the preservation movement has to be understood in imperial and international contexts, rather than in simply national or regional ones.

The UNESCO Convention for the Safeguarding of the Intangible Cultural Heritage came into force in 2006, framing the international and national practices and policies associated with intangible cultural heritage. This volume critically and reflexively examines these practices and policies, providing an accessible account of the different ways in which intangible cultural heritage has been defined and managed in both national and international contexts. As Safeguarding Intangible Heritage reveals, the concept and practices of safeguarding are complicated and often contested, and there is a need for international debate about the meaning, nature and value of heritage and what it means to 'safeguard' it. Safeguarding Intangible Heritage presents a significant cross section of ideas and practices from some of the key academics and practitioners working in the area, whose areas of expertise span anthropology, law, heritage studies, linguistics, archaeology, museum studies, folklore, architecture, Indigenous studies and history. The chapters in this volume give an overarching analysis of international policy and practice and critically frame case studies that analyze practices from a range of countries, including Australia, Canada, China, Indonesia, Japan, Korea, Kyrgyzstan, New Zealand, Taiwan, the UK and Zimbabwe. With a focus on conceptual and theoretical issues, this follow-up to Intangible Heritage, by the same editors, will be of great interest to students, scholars and professionals working in the fields of heritage and museum studies, heritage conservation, heritage tourism, global history, international relations, art and architectural history, and linguists.

On 21 May 1940 during the ill-fated Dunkirk Campaign the British launched an operation spearheaded by two tank regiments to help secure the city of Arras. This was the only significant armoured operation mounted by the British during the campaign. Poorly coordinated and starting badly the Matilda tanks ran into the flanks of Rommel s over extended 7th Panzer Division. With the German anti-tank guns, unable to penetrate the armour of the British tanks, Rommel s infantry fell into chaos as the Matildas plunged deep into their flank. The Germans were machinegunned and started to surrendered in large numbers but with the British infantry lagging well behind, fighting their own battles in the villages, there was no one to round them up. Into this scene of chaos entered Rommel whose personal leadership and example started to steady his troops and organise an effective response, despite being spattered with the brains of his aide de camp. This was classic Rommel but in the aftermath, he claimed to have been attacked by five divisions. The Arras counter-attack contributed to Hitler issuing the famous halt order to his panzers that arguably did much to allow the British Army to withdraw to Dunkirk and escape total destruction.

Gender and Heritage brings together a group of international scholars to examine the performance, place and politics of gender within heritage. Through a series of case studies, models and assessments, the significance of understanding and working with concepts of gender is demonstrated as a dynamic and reforming agenda. Demonstrating that gender has become an increasingly important area for heritage scholarship, the collection argues that it should also be recognised as a central structuring device within society and the location where a critical heritage studies can emerge. Drawing on contributions from around the world, this edited collection provides a range of innovative approaches to using gender as a mode of enquiry. From the politics of museum displays, the exploration of pedagogy, the role of local initiatives and the legal frameworks that structure representation, the volume's diversity and objectives represent a challenge for students, academics and professionals to rethink gender. Rather than featuring gender as an addition to wider discussions of heritage, this volume makes gender the focus of concern as a means of building a new agenda within the field. This volume, which addresses how we engage with gender and heritage in both practice and theory, is essential reading for scholars at all levels and should also serve as a useful guide for practitioners.

The use of museum collections as a path to learning for university students is fast becoming a new pedagogy for higher education. Despite a strong tradition of using lectures as a way of delivering the curriculum, the positive benefits of 'active' and 'experiential learning' are being recognised in universities at both a strategic level and in daily teaching practice. As museum artefacts, specimens and art works are used to evoke, provoke, and challenge students' engagement with their subject, so transformational learning can take place. This unique book presents the first comprehensive exploration of 'object-based learning' as a pedagogy for higher education in a broad context. An international group of authors offer a spectrum of approaches at work in higher education today. They explore contemporary principles and practice of object-based learning in higher education, demonstrating the value of using collections in this context and considering the relationship between academic discipline and object-based learning as a teaching strategy.

Nominated for the 2017 Dayton Literary Peace Prize in non-fiction This volume examines peace museums, a small and important (but often overlooked) series of museums whose numbers have multiplied world-wide in recent decades. They relate stories and display artifacts-banners, diaries, and posters for example about such themes as: art and peace, antiwar histories, protest, peacekeeping and social justice and promote cultures of peace. This book introduces their different approaches from Japan, which has the largest number of sites, to Bradford, UK and Guernica, Spain. Some peace museums and centers emphasize popular peace symbols and figures, others provide alternative narratives about conscientious objection or civil disobedience, and still others are sites of persuasion, challenging the status quo about issues of war, peace, disarmament, and related issues. Introducing Peace Museums distinguishes between different types of museums that are linked to peace in name, theme or purpose and discusses the debates which surround peace museums versus museums for peace. This book is the first of its kind to critically evaluate the exhibits and activities of this group of museums, and to consider the need for a "critical peace museum studies" which analyses their varied emphasis and content. The work of an experienced specialist, this welcome introduction to peace museums considers the challenges and opportunities faced by these institutions now and in the future.

Investigating how people and places are connected into the creative economy, this volume takes a holistic view of the intersections between community, policy and practice and how they are co-constituted. The role of the creative economy and broader cultural policy within community development is problematised and, in a significant addition to work in this area, the concept of 'place' forms a key cross cutting theme. It brings together case studies from the European Union across urban, rural and coastal areas, along with examples from the developing world, to explore tensions in universal and regionally-specific issues. Empirically-based and theoretically-informed, this collection is of particular interest to academics, postgraduates, policy makers and practitioners within geography, urban and regional studies, cultural policy and the cultural/creative industries.

The Acropolis through its Museum is not simply a guidebook to the Acropolis Museum. By presenting the works of art exhibited in the museum, it endeavours to resynthesize the history of the Sacred Rock as part of the cultural and the wider historical process of Athens. The book follows the visitor's tour of the museum, so that the reader can study and learn more about the antiquities he sees before him. However, it is written is such a way that through independent inquiry the reader is able to approach the subjects more deeply and to understand the preconditions - political, social, economic, ideological, artistic and technological - that led to the creation of the unique monuments on the Acropolis. The book is lavishly illustrated with photographs, as well as numerous plans and reconstruction drawings, which enable the reader to understand each of the fragmentarily preserved works in its context. It also answers many of the questions raised in the discerning reader's mind, such as what was the size and the population of ancient Athens, what is the meaning of the beasts represented on the large Archaic pediments, what do the Korai statues represent, why did the Erechtheion become so complex and what was the role of the Karyatids, why was the temple of Athena Nike built in the Ionic order, what led Pericles and his advisers to opt for the specific building programme and how were the major public works financed, why was it decided to place an Ionic frieze on the Doric Parthenon, what political messages were transmitted to Sparta through the sculptural decoration of the Parthenon, and so on. Authored by a university professor who has been involved with studying and teaching the Acropolis for over thirty years, the publication is of the impeccable artistic quality distinctive of books produced by KAPON Editions.

The Digital Future of Museums: Conversations and Provocations argues that museums today can neither ignore the importance of digital technologies when engaging their communities, nor fail to address the broader social, economic and cultural changes that shape their digital offerings. Through moderated conversations with respected and inf luential museum practitioners, thinkers and experts in related fields, this book explores the role of digital technology in contemporary museum practice within Europe, the U.S., Australasia and Asia. It offers provocations and reflections about effective practice that will help prepare today's museums for tomorrow, culminating in a set of competing possible visions for the future of the museum sector. The Digital Future of Museums is essential reading for museum studies students and those who teach or write about the museum sector. It will also be of interest to those who work in, for, and with museums, as well as practitioners working in galleries, archives and libraries.

This expansive book reveals the great diversity and range of art of the Arab lands, Turkey, Iran, Central Asia, and later South Asia. Published to coincide with the historic reopening of the galleries of the Metropolitan Museum's Islamic Art Department, it presents nearly three hundred masterpieces from one of the finest collections in the world. The works range chronologically from the origins of Islam in the seventh century through the nineteenth century, and geographically from as far west as Spain and Morocco to as far east as India. Outstanding miniature paintings and illuminated manuscripts, ceramics, textiles, carpets, glass, and metalwork reflect the mutual influence of artistic practice in the sacred and secular realms. Many of these beautiful objects display the rich traditions of calligraphy, vegetal ornament (the arabesque), and geometric patterning that distinguish the arts of the Islamic world.With seven informative essays and almost three hundred catalogue entries-supplemented by introductory essays on the collection and its display-this handsome and comprehensive overview will enlighten the specialist and the general reader alike.

Urban planners and conservationists in historic cities around the world grapple with the competing interests of conservation, urban design, and economic and social development. This book offers an interdisciplinary approach to the key relationships between heritage conservation, city space design, and tourism development in historic cities, linking theory and practice in a unique way. The book offers an investigation of three Middle Eastern historic cities, Aleppo, Acre and Salt, all of which face significant challenges of heritage conservation, adaptation to contemporary needs, and tourism development. It presents practical scenarios for the conservation and design of historic urban spaces and the development of sustainable tourism, from the perspective of planners, local communities and international tourists. The author offers a comparative approach which transcends political strife and provides valuable lessons for the other cities inscribed on UNESCO's World Heritage List, especially those in developing countries.

A Representation of Nationhood in the Museum examines how the National Museum of Korea, as a national repository of material culture and the state's premier exhibition facility, has shaped and been shaped by Korean nationalism. Exploring the processes by which the museum has discovered and interpreted material culture, using concepts of ethnic nationalism in the historical and political contexts of South Korean society, the book analyses how this nationalist interpretation has regulated South Koreans' understanding of their material culture. Issues considered include: cultural and political relations with China; Japanese colonial rule, cultural imperialism and its legacy; the division of Korea since 1945; the Korean War and nation building since liberation in 1945; and domestic political upheavals, including military coups in 1961 and in 1979. Demonstrating that authoritarian regimes' emphasis on the promotion of national unity drove national museums to establish national identity through material culture, Jang argues that international political and diplomatic factors also affect the process of the formation of national identity in a specific political context. Concerning itself with issues such as the relationship between politics and identity, museums and authoritarian regimes, this book should be essential reading for academics, researchers and postgraduate students in museum studies, nationalism studies, Asian studies and history departments.

Sculpture and the Museum is the first in-depth examination of the varying roles and meanings assigned to sculpture in museums and galleries during the modern period, from neo-classical to contemporary art practice. It considers a rich array of curatorial strategies and settings in order to examine the many reasons why sculpture has enjoyed a position of such considerable importance - and complexity - within the institutional framework of the museum and how changes to the museum have altered, in turn, the ways that we perceive the sculpture within it. In particular, the contributors consider the complex issue of how best to display sculpture across different periods and according to varying curatorial philosophies. Sculptors discussed include Canova, Rodin, Henry Moore, Flaxman and contemporary artists such as Rebecca Horn, Rachel Whiteread, Mark Dion and Olafur Eliasson, with a variety of museums in America, Canada and Europe presented as case studies. Underlying all of these discussions is a concern to chart the critical importance of the acquisition, placement and display of sculpture in museums and to explore the importance of sculptures as a forum for the expression of programmatic statements of power, prestige and the museum's own sense of itself in relation to its audiences and its broader institutional aspirations.

One of Chicago's landmark attractions, Graceland Cemetery chronicles the city's sprawling history through the stories of its people. Local historian and Graceland tour guide Adam Selzer presents ten walking tours covering almost the entirety of the cemetery grounds. While nodding to famous Graceland figures from Marshall Field to Ernie Banks to Ludwig Mies van der Rohe, Selzer also leads readers past the vaults, obelisks, and other markers that call attention to less recognized Chicagoans like: Jessie Williams de Priest, the Black wife of a congressman whose 1929 invitation to a White House tea party set off a storm of controversy; Engineer and architect Fazlur Khan, the Bangladeshi American who revived the city's skyscraper culture; The still-mysterious Kate Warn (listed as Warn on her tombstone), the United States' first female private detective. Filled with photographs and including detailed maps of each tour route, Graceland Cemetery is an insider's guide to one of Chicago's great outdoor destinations for city lore and history.

Today, death is being reconceptualised around the world as heritage, replete with material markers and intangible performances. These heritages of death are personal, national and international. They are vernacular as well as official, sanctioned as well as alternative. This book brings together more than twenty international scholars to consider the heritage of death from spatial, political, religious, economic, cultural, aesthetic and emotive aspects. It showcases different attitudes and phases of death and their relationship to heritage through ethnographically informed case studies to illustrate both general patterns and local and national variations. Through analyses of material expressions and social practices of grief, mourning and remembrance, this book shows not only what death means in contemporary societies, but also how individuals, groups and nations act towards death.

Daringly innovative when it opened in 1848, the Palm House in Kew Gardens remains one of the most beautiful glass buildings in the world today.

Seemingly weightless, vast and yet light, the Palm House floats free from architectural convention, at once monumental and ethereal. From a distance, the crowns of the palms within are silhouetted in the central dome; close to, banana leaves thrust themselves against the glass. To enter it is to enter a tropical fantasy. The body is assaulted by heat, light and the smell of damp vegetation.

In Palace of Palms, Kate Teltscher tells the extraordinary story of its creation and of the Victorians’ obsession with the palms that filled it. It is a story of breathtaking ambition, of scientific discovery and, crucially, of the remarkable men whose vision it was. The Palm House was commissioned by the charismatic first Director of Kew, Sir William Hooker, designed by the audacious Irish engineer, Richard Turner, and managed by Kew’s forthright curator, John Smith, who battled with boilers and floods to ensure the survival of the rare and wondrous plants it housed.

This book explores the lived experience of cultural entrepreneurship examining the challenges associated with cultural labour including the insecurities of managing precarious working conditions. Drawing on interviews conducted with cultural workers, Cultural Entrepreneurship focuses on how individuals articulate their experience of entrepreneurship in the cultural and creative industries. Noting the importance of place, the local cultural milieu is examined as a means of situating entrepreneurial practices through cultural and enterprise policies, local networks, and significant relationships. Within this framework, the cultural entrepreneurs' stories reveal means of subverting or re-interpreting identities and the possibility for 'rethinking cultural entrepreneurship.' Aimed at researchers, academics and students investigating cultural entrepreneurship, cultural policy and cultural labour, Cultural Entrepreneurship will additionally be of value to creative industry consultants, cultural policymakers, and those setting up creative enterprises. Researchers from fields such as geography, investigating different aspects of the cultural industries in relation to cultural policy and place, will also find this book to be a useful contribution.

This book focuses on the theoretical, policy and practice linkages and disjunctures between tourism and the creative industries. There are clear and strong intersections between the sectors, for example in the development and application of new and emerging media in tourism; festivals and cultural events showcasing the creative identity of place; tours and place identities associated with film, TV, music and arts tourism; as well as particular destinations being promoted on the basis of their 'creative' endowments such as theatre breaks, art exhibitions and fashion shows. Tourism and the Creative Industries explores a variety of relationships in one volume and offers innovative and critical insights into how creative industries and tourism together contribute to place identity, tourist experience, destination marketing and management. The book is aligned with the sectors that have been demarcated by the UK Government Department of Culture, Media and Sport as comprising the creative industries: advertising and marketing; architecture; design and designer fashion; film, TV, video, radio and photography; IT, software and computer services; publishing and music; performing and visual arts. The title of this volume demonstrates how the exclusion of tourism from the creative industries is arguably perverse, given that much of the work by destination managers and of private sector tourism is characterised by creativity and innovation. Interdisciplinary research and international context bring a broader perspective on how the creative industries operate in varying cultural and policy contexts in relation to tourism. This book brings together the parallel and disparate inter-disciplinary fields of tourism and the creative industries and will be of interest to students, academics and researchers interested in tourism, creative industries, marketing and management.

Here, two of the Getty's most popular books are brought together in one handsome boxed set. In Seeing the Getty, numerous color photographs show the Getty Center in all its magnificence--from the tram and the noted architecture to the elegant interiors of the Museum galleries. In Seeing the Getty Gardens, vivid color photographs of the plazas, fountains, hillsides, and Robert Irwin's Central Garden offer a dazzling look at the breathtaking outdoor spaces at the Getty Center. Together these books provide an engaging glimpse of one of America's most important cultural institutions.

UnDoing Buildings: Adaptive Reuse and Cultural Memory discusses one of the greatest challenges for twenty-first-century society: what is to be done with the huge stock of existing buildings that have outlived the function for which they were built? Their worth is well recognised and the importance of retaining them has been long debated, but if they are to be saved, what is to be done with these redundant buildings? This book argues that remodelling is a healthy and environmentally friendly approach. Issues of heritage, conservation, sustainability and smartness are at the forefront of many discussions about architecture today and adaptive reuse offers the opportunity to reinforce the particular character of an area using up-to-date digital and construction techniques for a contemporary population. Issues of collective memory and identity combined with ideas of tradition, history and culture mean that it is possible to retain a sense of continuity with the past as a way of creating the future. UnDoing Buildings: Adaptive Reuse and Cultural Memory has an international perspective and will be of interest to upper level students and professionals working on the fields of Interior Design, Interior Architecture, Architecture, Conservation, Urban Design and Development.

Since the 1990s, artists and art writers around the world have increasingly undermined the essentialism associated with notions of "critical practice." We can see this manifesting in the renewed relevance of what were previously considered "outsider" art practices, the emphasis on first-person accounts of identity over critical theory, and the proliferation of exhibitions that refuse to distinguish between art and the productions of culture more generally. How Folklore Shaped Modern Art: A Post-Critical History of Aesthetics underscores how the cultural traditions, belief systems and performed exchanges that were once integral to the folklore discipline are now central to contemporary art's "post-critical turn." This shift is considered here as less a direct confrontation of critical procedures than a symptom of art's inclusive ideals, overturning the historical separation of fine art from those "uncritical" forms located in material and commercial culture. In a global context, aesthetics is now just one of numerous traditions informing our encounters with visual culture today, symptomatic of the pull towards an impossibly pluralistic image of art that reflects the irreducible conditions of identity.

First published in 1994. Routledge is an imprint of Taylor & Francis, an informa company.

Two of the key theoretical shifts over the past two decades of critical work have been the 'visual turn' and the 'material turn'. This book argues that these hitherto distinct fields should be understood as in continual dialogue and co-constitution and focuses on reconceptualising the visual as an embodied, material, and often politically-charged realm. This edited volume elaborates this conceptual argument through a series of contemporary case studies, drawn from the disciplines of Architecture, Sociology, Media Studies, Geography and Cultural Studies. The case studies included are paired around four themes: consumption, translation, practice and ethics. As well as exploring the bringing together of visuality and materiality studies, the contributors raise questions of social identity and social critique, and also focus on the ethics of material visualities.