This book examines the processes through which public art museums, as modern Western institutions, were introduced to Japan in the late nineteenth century and how they subsequently developed distinctive national characteristics. The author focuses on one of the most distinctive forms of Japanese museums: the 'empty museums' - museums without collections, permanent displays, and curators. Morishita shows how they developed, in relation to social and cultural conditions at certain periods in modern Japanese history, by engaging with a wide range of interdisciplinary theories, in particular, Pierre Bourdieu's field theory and the conceptual framework of transculturation. Japan is used as a case study to show in general terms how the elements of modern Western culture associated with public art museums were introduced and transformed in the local conditions of non-Western regions. With its unique empirical cases and theoretical focus, the book makes a significant contribution to existing literature in the field of museum studies, both in the English-speaking world and in Japan, and will be of interest to scholars and students of sociology, art history, cultural studies and Japanese studies.

Much as art history is in the process of being transformed by new information communication technologies, often in ways that are either disavowed or resisted, art practice is also being changed by those same technologies. One of the most obvious symptoms of this change is the increasing numbers of artists working in universities, and having their work facilitated and supported by the funding and infrastructural resources that such institutions offer. This new paradigm of art as research is likely to have a profound effect on how we understand the role of the artist and of art practice in society. In this unique book, artists, art historians, art theorists and curators of new media reflect on the idea of art as research and how it has changed practice. Intrinsic to the volume is an investigation of the advances in creative practice made possible via artists engaging directly with technology or via collaborative partnerships between practitioners and technological experts, ranging through a broad spectrum of advanced methods from robotics through rapid prototyping to the biological sciences.

How can museum educators and higher education tutors enhance the way HE students use museums? There are many examples in the UK of museums and universities working together in productive and innovative ways, but these relationships tend to be based on individual enthusiasm and opportunistic arrangements. Despite the growing importance of museum education departments, higher education tends to be overlooked by museums. This book looks at the interaction between design students and museums, and explores issues, projects and emerging ideas about how museums can better support HE students. It illustrates the general lessons that can be learnt, both strategic and practical, which can help to bring about long-term and constructive relationships between museums and universities in order to enable effective student learning.

World-class breweries, rugged mountain peaks, and funky college town vibes: dive into the diversity of the Front Range with Moon Denver, Boulder & Colorado Springs. Inside you'll find: * Flexible itineraries, like a week exploring Denver, Boulder, and Colorado Springs and day trips to nearby ski resorts and Rocky Mountain National Park * The top outdoor adventures: Go rafting on the Cache La Poudre river, rock-climb in the Flatirons, or hike slickrock trails to stunning mountain vistas. Ski the fresh powder at Loveland or Winter Park and relax with an apres-ski drink * Must-see highlights and unique experiences: Check out a new exhibit at the Denver Art Museum, catch a performance under the open sky at Red Rocks Amphitheatre, or explore the Wild West at the Museum of the American Cowboy * The best local flavors: Indulge in the offerings of a farm-to-table restaurant, try gourmet treats at a buzzing public market, or chat with locals over a delicious microbrew * Honest advice from Denver local and lifelong adventurer Mindy Sink on when to go, where to eat, and where to stay * Helpful resources on Covid-19 and traveling throughout Colorado * Full-color photos and detailed maps throughout * Focused coverage of Denver, Boulder, Colorado Springs, Fort Collins, Golden, and the east side of Rocky Mountain National Park * Thorough background on the culture, weather, wildlife, and history Find your adventure with Moon Denver, Boulder & Colorado Springs. Exploring beyond the Mile-High City? Try Moon Colorado. Sticking to the park? Pick up Moon Rocky Mountain National Park. About Moon Travel Guides: Moon was founded in 1973 to empower independent, active, and conscious travel. We prioritize local businesses, outdoor recreation, and traveling strategically and sustainably. Moon Travel Guides are written by local, expert authors with great stories to tell-and they can't wait to share their favorite places with you. For more inspiration, follow @moonguides on social media.

This new study examines how nineteenth-century industrial Lancashire became a leading national and international art centre. By the end of the century almost every major town possessed an art gallery, while Lancashire art schools and artists were recognised at home and abroad. The book documents the remarkable rise of visual art across the county, along with the rise of the commercial and professional classes who supported it. It examines how Lancashire looked to great civilisations of the past for inspiration while also embracing new industrial technologies and distinctively modern art movements. This volume will be essential reading for all those with an interest in the new industrial society of the nineteenth century, from art lovers and collectors to urban and social historians. -- .

In Learning at the Museum Frontiers, Viv Golding argues that the museum has the potential to function as a frontier - a zone where learning is created, new identities are forged and new connections made between disparate groups and their own histories. She draws on a range of theoretical perspectives including Gadamer's philosophical hermeneutics, Foucauldian discourse on space and power, and postcolonial and Black feminist theory, as well as her own professional experience in museum education over a ten-year period, applying these ideas to a wide range of museum contexts. The book offers an important theoretical and empirical contribution to the debate on the value of museums and what they can contribute to society. The author reveals the radical potential for museums to tackle injustice and social exclusion, challenge racism, enhance knowledge and promote truth.

For popular-culture vultures, there really is no better guide to Britain's best TV and film locations than On Location. Explore the cities, towns, historical sights, stately homes, studios, beaches, moors and parks that inspired and hosted films such as Harry Potter, 28 Days Later, Trainspotting and Batman Begins, and TV programmes such as Poldark, The Crown, Dr Who and Bridgerton, to name just a few. Wander the corridors of Lyme Park in Derbyshire, the house used as Pemberley in the BBC's Pride and Prejudice; gaze across Glen Etive in the Highlands of Scotland, an eerie and atmospheric location seen in the James Bond film, Skyfall; escape on the Hogwarts Express, aka the Jacobite Steam Train, across Glenfinnan Viaduct, as seen in the Harry Potter films: storm through the gates of Castle Ward in Northern Ireland, the location of Winterfell in Game of Thrones; and experience a feast for the senses amongst the dreamlike candy-coloured houses of Portmeirion Village, setting of The Prisoner, plus so many more sights to please all ages. Handy maps and beautiful colour photography complete this fascinating guidebook that covers over 100 different locations, so you're never far from one whether you're on holiday and on a mission to see as many as you can, or simply fancy an interesting afternoon or day out not far from home that will both thrill the kids and captivate the grown-ups.

The redecoration of the exhibition spaces at the Borghese palace and villa, undertaken together with the reinstallation of the family's vast art collections, was one of the most important events in the cultural life of eighteenth-century Rome. In this comprehensive study, Carole Paul reconstructs the planning and execution of the project and explains its multifaceted significance: its place in the history of Italian art, architecture, and interior design at a complex moment of transition from baroque to neoclassical style, as well as its unrecognized but profound influence on the development of the modern art museum. The study shows how the installations and decorations worked together to evoke traditional themes in innovative ways. Addressed primarily to a new audience of tourists from abroad, the thematic content of the spaces celebrated the greatness of the Borghese family and of Roman tradition, while their stylistic diversity and sophistication made a case for the continued vitality - even modernity - of Roman art and culture. Designed for the exercise of a highly refined social performance, these sites helped to model the experience of art as a form of enlightened modern civility.

SS Nomadic was commissioned by White Star Line to serve the Olympic-class liners Olympic, Titanic and Britannic when they called in Cherbourg. Built in Belfast alongside Titanic, she was made with the same steel, built by the same workers and decorated by the same craftsmen. Because her duties were to serve first- and second-class passengers, she was fitted out far more luxuriously than other tenders of that time and she was considered by the White Star Line as a window into the sumptuous new transatlantic liners. While Titanic is commonly described as the ill-fated White Star Liner, SS Nomadic can without any doubt be qualified as the lucky tender, having survived both world wars and escaped destruction many times. She is now restored to her former glory as a tourist attraction in Belfast.

There's more to the South of France than sun, beaches, palm trees and the azure blue sea. For over a hundred years, it has been the favourite destination of many artists, who find themselves drawn to the superb light and the pleasant climate. The South of France for Art Lovers will show you what the area between Collioure and Menton has to offer in terms of surprising and remarkable art and cultural treasures. Journalist and art connoisseur Eric Rinckhout (Knack Magazine a.o.) selected more than 350 exceptional places: from the chapel decorated by Louise Bourgeois to the studio of Matisse and the apartment of Nabokov, from Eileen Gray's modernist Villa E-1027 to architect Frank Gehry's most recent design, from the oldest cinema in the world to street art in Marseille. Discover the best and most unique spots in inspiring lists such as contemporary sculpture gardens on wine estates, in the footsteps of painters and writers, chansonniers and rock stars, sleeping inside art, gardens that are artistic gems and much more.

How do we see art? How is it displayed? One hundred years ago, art was shown in a way intended to educate. Galleries reflected the curator's view of history at the expense of differing opinions. Today, not only do museums and galleries celebrate these differences of expression, they also welcome the collaboration of living artists, promoting an active dialogue between the present and the past. Galleries and museums are no longer just repositories. They are sites of experience where the mind is often engaged as much as the eye. Here, Nicholas Serota presents a coherent historical account of changing attitudes to the way art is presented in the modern museum, examining the relationship between the artist, the public and the curator. He takes us into the artist's studio - itself a paradigm of display - and then on a knowledgeable and wide-ranging international tour of museums, galleries and installations, offering authoritative insights into the ways in which the display of art is likely to develop in the 21st century.

The British Museum's collection is one of the worlds finest and broadest, ranging from prehistoric times to the present in ancient and modern cultures around the globe. This new and updated edition includes many recent acquisitions and new discoveries, such as Picasso's stunning Vollard Suite and the intriguing Vale of York Viking hoard, and showcases a selection of more than 250 of the most beautiful and important objects drawn from across the Museum. Each object is presented with its own fascinating story and is strikingly illustrated in full colour. From the Warren Cup to Durers Rhinoceros, the Lewis Chessmen to the Aztec turquoise serpent and the Gayer-Anderson Cat, the iconic objects of the British Museum are here presented in an exciting and accessible new way, highlighting the superb craftsmanship and ingenuity of those who created each of these splendid pieces. Grouped into sections based on cross-cultural themes, such as rulers, mythical beasts, dress and the human form, the resulting juxtapositions offer intriguing new insights into these widely varied masterpieces. Introduced by Neil MacGregor, Director of the British Museum, this is a stunning overview of artistic and cultural achievement around the world.

A decade-old obsession for Dutchman Pieter Boogaart resulted in a guidebook that looks like no other, to a subject never before fully explored: the A272. Three continuous texts wind their way through the book, simultaneously exploring the A272 itself and the countryside it passes through; extra commentary is provided in yet another level of text. Hundreds of colour photographs complete this homage to the 'epitome of England'. After eight reprintings, now in a fully revised, updated, improved FOURTH edition and - naturally - 272 pages long!

What is the role of unconscious fantasies in psychological development, in psychopathology, and in the arts? In Unconscious Fantasies and the Relational World, Danielle Knafo and Kenneth Feiner return to these interlinked questions with a specific goal in mind: a contemporary appreciation of fantasy in its multiform relational contexts. To this end, they provide detailed examinations of primal scene, family romance, and castration fantasies, respectively. Each category of fantasy is pushed beyond its "classical" psychoanalytic meaning by attending to the child's ubiquitous concerns about sexual difference and feelings of incompleteness; her perception of the parental relationship; and the multiple, shifting identifications that grow out of this relationship. Evocative clinical examples illuminate the manner in which patients and analysts play out these three core fantasies. They are balanced by chapters that explore the generative side of these same fantasies in the arts. David Lynch's film Blue Velvet provides an artistic rendering of the primal scene; Jerzy Kosinki's life and work illustrates the family romance; and French multimedia artist Orlan's "carnal art" recreates the trauma of castration. Unconscious Fantasies and the Relational World is a tightly woven study of broad and basic questions. It is in equal measure a contemporary re-visioning of the grounds of fantasy formation, a relationally informed guide to clinical techniques for dealing with unconscious fantasy, and an examination of the generative potential of unconscious fantasy in the arts. Out of the authors' broadening and broad-minded sensibility emerges an illuminating study of the manifold ways in which unconscious fantasies shape lives and enrich clinical work.

The nineteenth century witnessed a flowering of museums in towns and cities across Britain. As well as providing a focus for collections of artifacts and a place of educational recreation, this work argues that municipal museums had a further, social role. In a situation of rapid urban growth, allied to social and cultural changes on a scale hitherto unknown, it was inevitable that traditional class and social hierarchies would come under enormous pressure. As a result, urban elites began to look to new methods of controlling and defining the urban environment. One such manifestation of this was the growth of the public museum. In earlier centuries museums were the preserve of learned and respectable minority, yet by the end of the nineteenth century one of the principal rationales of museums was the education, or 'improvement', of the working classes. In the control of museums too there was a corresponding shift away from private aristocratic leadership, toward a middle-class civic directorship and a growing professional body of curators. This work is in part a study of the creation of professional authority and autonomy by museum curators. More importantly though, it is about the stablization of middle-class identities by the end of the nineteenth century around new hierarchies of cultural capital. Public museums were an important factor in constructing the identity and authority of certain groups with access to, and control over, them. By examining urban identities through the cultural lens of the municipal museum, we are able to reconsider and better understand the subtleties of nineteenth-century urban society.

This beautifully illustrated sourcebook chronicles the history of the Newcomb Pottery at Tulane University in Louisiana from its founding in 1895. It explores the development of the art form, and presents a sensitive picture of the artists themselves. It includes a section on marks and dating by Walter Bob, as well as a complete exhibition catalog compiled by Sally Main Spanola, assistant curator.

The Natural History Museum is home to many rare and exceptional natural wonders - but the magnificent Museum building is itself one of London's most iconic attractions. Envisioned by Alfred Waterhouse as a cathedral of nature, the building he created is one of Britain's most striking examples of Romanesque architecture and is considered a work of art in its own right. This picture-led exploration of the building celebrates Waterhouse's unique architectural accomplishment and showcases many of the artistic gems it houses; not least it's incredibly detailed engravings, sculptures and painted ceiling.

In contrast to a significant recent volume in this area (Labadi, ed. 2019 see below), this volume does not focus only on international aid, but instead considers a range of different actors with diverse approaches to and understandings of 'development'. This volume does not only engage with formalised heritage, such as museums, monuments, and memorials. Contributions consider a range of ostensibly past-focused practices and interventions that may not be explicitly referred to as 'heritage' by the actors concerned. This marks a contrast with significant earlier work in the field (e.g. Basu and Modest eds., 2014 see below). Contributors to this volume include both scholars from a range of fields and practitioners, working in museums, UNESCO, and local government. This will help to ensure the content is engaged with contemporary practice as well as theory, and the relevance of the volume to students and practitioners. This volume will not comprise a set of disparate case studies. Rather, authors will critically review how heritage informs the pursuit of development within a broad general field, illustrating this with examples drawn from their own research. This will ensure consistency in focus across the contributions and the forum style conclusion will allow leading scholars from both Critical Heritage Studies and Development Studies to identify the key thematic points commonalities emerging from ostensibly diverse areas of scholarship and practice.

This book: presents interdisciplinary case studies of heritage sites and museums from across a range of different contexts and analyses the ways in which various types of immersive technologies can help visitors to contextualize and negotiate difficult or sensitive heritage and traumatic pasts. demonstrates that some of the most creative applications of immersive experiences appear in and at museums and heritage sites. showcases how immersive technologies offer the possibility to confront and dispute presumptions and prejudices, trigger responses, deliver new knowledge, initiate dialogue and challenge pre-existing notions of collective identity provides a conceptual, as well as a hands-on, approach to understanding the use of immersive technologies at sensitive sites around the globe. offers essential reading for researchers and students who are interested in, or engaged in the study of, cultural heritage, memory, history, politics, dark tourism, design and digital media, or immersive technologies. The book will also be of interest to museum and heritage practitioners.

Houses tell the human side of history. In this survey of restored residences, their stories are intertwined with those of their owners in a domestic history of Florida from the days of Spanish occupation to the Rawlings House in Cross Creek, Vizcaya in Miami, and President Harry S. Truman's "Little White House" in Key West. Most of these houses are museums now; others are restaurants or bed-and-breakfasts. This new edition is updated and illustrated with color photographs.

This Companion authoritatively points to the main areas of enquiry within the subject of African American art history. The first section examines how African American art has been constructed over the course of a century of published scholarship. The second section studies how African American art is and has been taught and researched in academia. The third part focuses on how African American art has been reflected in art galleries and museums. The final section opens up understandings of what we mean when we speak of African American art. This book will be of interest to graduate students, researchers, and professors and may be used in American art, African American art, visual culture, and culture classes.

Ecotourism and adventure tours offer unique tourism opportunities in the Antarctic! Are you prepared to make the most of them?Tourism in the Antarctic analyzes tourism activities in the most remote tourist destination in the world! It establishes visitor profiles; discusses the impacts of tourism on the region; and explores barriers, opportunities, and future directions in Antarctic tourism. The emergence of ecotourism has turned Antarctica into an increasingly popular tourist destination for intrepid travelers. During the 1999/2000 season, approximately 15,000 passengers visited Antarctica by ship. Tourism in the Antarctic discusses the new and exciting opportunities for tourism business operators in the region, as well as the ramifications of increased numbers of visitors to this unique environment.In these pages, you will find discussions of issues related to Antarctic tourism including: regulation of the tourism industry under the Antarctic Treaty System, and self-regulation provided by business operators trends and predictions for numbers of visitors to the region tourist attractions that are natural, man-made, spiritual, or scientific in nature wildlife of Antarctica: seals and whales, flying sea birds, penguins, etc. international law as it relates to the region ship-based tourism opportunities from yachts and small expedition-type vessels to very large cruise ships and icebreakers air- and land-based tourism opportunities in the region from private expeditions to overflights an overview of current tourism operations in other remote areas: the Arctic region, the Galapagos Islands, Alaska, New Zealand's Sub-Antarctic Islands, and more The author's observations and experiences during cruises to the Antarctic Peninsula, the sub-Antarctic islands and the Ross Sea, as well as during overflights of Antarctica, are the basis of this unique volume. Generously embellished with charts and tables that make it easy to track activities, opinions, trends, and environmental statistics, this book is an essential reference for anyone teaching, studying, or planning to operate a tourism business in this part of the world.

Visitor-Centered Exhibitions and Edu-Curation in Art Museums promotes balanced practices that are visitor-centered while honoring the integrity and powerful storytelling of art objects. Book examples present best practices that move beyond the turning point, where curation and education are engaged in full and equal collaboration. With a mix of theory and models for practice, the book: * provides a rationale for visitor-centered exhibitions; * addresses important related issues, such as collaboration and evaluation; and, * presents success stories written by educators, curators, and professors from the United States and Europe. * introduces the edu-curator, a new vision for leadership in museums with visitor-centered exhibition practices. The book is intended for art museum practitioners, including educators, curators, and exhibitions designers, as well as higher education faculty and students in art/museum education, art history, and museum studies.