The Museum of Mankind was an innovative and popular showcase for minority cultures from around the non-Western world from 1970 to 1997. This memoir is a critical appreciation of its achievements in the various roles of a national museum, of the personalities of its staff and of the issues raised in the representation of exotic cultures. Issues of changing museum theory and practice are raised in a detailed case-study that also focuses on the social life of the museum community. This is the first history of a remarkable museum and a memorable interlude in the long history of one of the world's oldest and greatest museums. Although not presented as an academic study, it should be useful for museum and cultural studies as a well as a wider readership interested in the British Museum.

Museum and Historic Site Management: A Case Study Approach utilizes the classic business case study approach to help museum and public history professionals think through different scenarios and understand/anticipate different points of view in resolving issues. The case studies are fictionalized representations of real life situations that have occurred at museums, historic sites, and non-profit organizations. Elements from multiple situations will be incorporated into each case study to create multi-faceted scenarios that challenge the reader to develop their own creative, yet pragmatic solutions. The case studies read like a story-embedding the reader in the fictionalized museum or historic site. A brief introduction contextualizes the issues under exploration. Then the case begins with the story. The main protagonist guides the reader through the issues at hand. Other characters posit different points of view. The solution is not provided. Instead, while considering his/her options for resolving the situation, the protagonist asks a series of questions that provide guidelines for different solutions. For example, in a case involving deaccessioning, the protagonist might consult AASLH materials, AAM standards, and newspaper articles about the Delaware Art Museum or Brandeis University Rose Art Museum deaccessioning. Based on those materials and other discussion points, the protagonist will consider the various solutions. The thirty case study topics include board management, fundraising, personnel planning, technology, and financial planning. The preface includes detailed notes on how to use the cases in instructional settings.

The world's cultural heritage is under threat from war, illicit trafficking, social and economic upheaval, unregulated excavation and neglect. Over a period of almost fifty years, the United Nations Educational, Scientific and Cultural Organisation has adopted five international conventions that attempt to protect this cultural heritage. This book comprehensively and critically considers these five UNESCO cultural heritage conventions. The book looks at the conventions in the context of recent events that have exposed the dangers faced by cultural heritage, including the destruction of cultural heritage sites in Iraq and the looting of the Baghdad museum, the destruction the Buddhas of Bamiyan in Afghanistan, the salvage of artefacts from the RMS Titanic and the illicit excavation and trade in Chinese, Peruvian and Italian archaeological objects.

As the only existing work to consider all five of the cultural heritage conventions adopted by UNESCO, the book acts as an introduction to this growing area of international law. However, the book does not merely describe the conventional principles and rules, but, critically evaluates the extent to which these international law principles and rules provide an effective and coherent international law framework for the protection of cultural heritage. It is suitable not only for those schooled in the law, but also for those who work with cultural heritage in all its manifestations seeking a broad but critical consideration of this important area of international law.

The Heritage of War is an interdisciplinary study of the ways in which heritage is mobilized in remembering war, and in reconstructing landscapes, political systems and identities after conflict. It examines the deeply contested nature of war heritage in a series of places and contexts, highlighting the modes by which governments, communities, and individuals claim validity for their own experiences of war, and the meanings they attach to them.

From colonizing violence in South America to the United States Civil War, the Second World War on three continents, genocide in Rwanda and continuing divisions in Europe and the Middle East, these studies bring us closer to the very processes of heritage production. The Heritage of War uncovers the histories of heritage: it charts the constant social and political construction of heritage sites over time, by a series of different agents, and explores the continuous reworking of meaning into the present.

What are the forces of contingency, agency and political power that produce, define and sustain the heritage of war? How do particular versions of the past and particular identities gain legitimacy, while others are marginalised? In this book contributors explore the active work by which heritage is produced and reproduced in a series of case studies of memorialization, battlefield preservation, tourism development, private remembering and urban reconstruction. These are the acts of making sense of war; they are acts that continue long after violent conflict itself has ended.

The Heritage of War is an interdisciplinary study of the ways in which heritage is mobilized in remembering war, and in reconstructing landscapes, political systems and identities after conflict. It examines the deeply contested nature of war heritage in a series of places and contexts, highlighting the modes by which governments, communities, and individuals claim validity for their own experiences of war, and the meanings they attach to them.

From colonizing violence in South America to the United States Civil War, the Second World War on three continents, genocide in Rwanda and continuing divisions in Europe and the Middle East, these studies bring us closer to the very processes of heritage production. The Heritage of War uncovers the histories of heritage: it charts the constant social and political construction of heritage sites over time, by a series of different agents, and explores the continuous reworking of meaning into the present.

What are the forces of contingency, agency and political power that produce, define and sustain the heritage of war? How do particular versions of the past and particular identities gain legitimacy, while others are marginalised? In this book contributors explore the active work by which heritage is produced and reproduced in a series of case studies of memorialization, battlefield preservation, tourism development, private remembering and urban reconstruction. These are the acts of making sense of war; they are acts that continue long after violent conflict itself has ended.

What underlying philosophy and mission should museums pursue in the first half of the twenty-first century? In Museum Philosophy, twenty-four authors use the lenses of a variety of disciplines to answer this essential question. Museum professionals offer their answers alongside philosophers, historians, political scientists, educators, sociologists, and others in a wide-ranging exploration of institutions from art museums to zoos. Hugh Genoway's book offers philosophical and ethical guidelines, describes the ways specific institutions illustrate different philosophies, examines major divisions in the museum community, and explores outreach and engagement between the museum and its larger community. Both established museum professionals and students of museum studies will benefit from this insightful look into the foundations and future of their field.

While much has been written on the history of psychiatry, remarkably little has been written about psychiatric collections or curating. Exhibiting Madness in Museums offers a comparative history of independent and institutional collections of psychiatric objects in Australia, New Zealand, Canada and the United Kingdom. Leading scholars in the field investigate collectors, collections, their display, and the reactions to exhibitions of the history of insanity. Linked to the study of medical museums this work broadens the study of the history of psychiatry by investigating the significance and importance of the role of twentieth-century psychiatric communities in the preservation, interpretation and representation of the history of mental health through the practice of collecting. In remembering the asylum and its different communities in the twentieth century, individuals who lived and worked inside an institution have struggled to preserve the physical character of their world. This collection of essays considers the way that collections of objects from the former psychiatric institution have played a role in constructions of its history. It historicises the very act of collecting, and also examines ethical problems and practices which arise from these activities for curators and exhibitions.

A concise history of one of the world's greatest and most comprehensive museum collections, from its founding in 1753.

A product and symbol of the 18th-century Enlightenment, the British Museum is as iconic an expression of that cultural tendency as Johnson's Dictionary, the French Encyclopedie and Linnaean plant classification. Its collections embody the raw material of empiricism – the bringing together of things to enable the widest intellectual experiment to take place.

James Hamilton explores the establishment of the Museum in the 1750s (from the bequest to the nation of the collections of Sir Hans Sloane); the chosen site of its location; the cultural context in which it came into being; the subsequent development, expansion and diversification of the Museum, both as a collection and as a building, from the early 19th to the 21st century; the controversy occasioned by some of its acquisitions; and the legacy and influence of the Museum nationally and globally.

Whether the art form is theater, dance, music, festival, or the visual arts and galleries, the arts manager is the liaison between the artists and their audience. Bringing together the insights of educators and practitioners, this groundbreaker links the fields of management and organizational management with the ongoing evolution in arts management education. It especially focuses on the new directions in arts management as education and practice merge. It uses cases studies as both a pedagogical tool and an integrating device. Separate sections cover Performing and Visual Arts Management, Arts Management Education and Careers, and Arts Management: Government, Nonprofits, and Evaluation. The book also includes a chapter on grants and raising money in the arts.

This book explores the effects of the Instagram platform on the making and viewing of art. Authors Lachlan MacDowall and Kylie Budge critically analyse the ways Instagram has influenced artists, art spaces, art institutions and art audiences, and ultimately contemporary aesthetic experience. The book argues that more than simply being a container for digital photography, the architecture of Instagram represents a new relationship to the image and to visual experience, a way of shaping ocular habits and social relations. Following a detailed analysis of the structure of Instagram - the tactile world of affiliation ('follows'), aesthetics ('likes') and attention ('comments') - the book examines how art spaces, audiences and aesthetics are key to understanding its rise. The book will be of interest to scholars working in art history, design, digital culture, cultural studies, sociology, education, business, media and communication studies.

Whether the art form is theater, dance, music, festival, or the visual arts and galleries, the arts manager is the liaison between the artists and their audience. Bringing together the insights of educators and practitioners, this groundbreaker links the fields of management and organizational management with the ongoing evolution in arts management education. It especially focuses on the new directions in arts management as education and practice merge. It uses cases studies as both a pedagogical tool and an integrating device. Separate sections cover Performing and Visual Arts Management, Arts Management Education and Careers, and Arts Management: Government, Nonprofits, and Evaluation. The book also includes a chapter on grants and raising money in the arts.

This book examines the making of heritage in contemporary Japan, investigating the ways in which particular objects, practices and institutions are ascribed public recognition and political significance. Through detailed ethnographic and historical case studies, it analyses the social, economic, and even global political dimensions of cultural heritage. It shows how claims to heritage status in Japan stress different material qualities of objects, places and people - based upon their ages, originality and usage. Following on an introduction that thoroughly assesses the field, the ethnographic and historiographic case studies range from geisha; noh masks; and the tea ceremony; urban architecture; automata; a utopian commune and the sites of Mitsubishi company history. They examine how their heritage value is made and re-made, and appraise the construction of heritage in cases where the heritage value resides in the very substance of the object s material composition - for example, in architecture, landscapes and designs - and show how the heritage industry adds values to existing assets: such as sacredness, urban charm or architectural and ethnic distinctiveness. The book questions the interpretation of material heritage as an enduring expression of social relations, aesthetic values and authenticity which, once conferred, undergoes no subsequent change, and standard dismissals of heritage as merely a tool for enshrining the nation; supporting the powerful; fostering nostalgic escapism; or advancing capitalist exploitation. Finally, it considers the role of people as agents of heritage production, and analyses the complexity of the relationships between people and objects. This book is a rigorous assessment of how conceptions of Japanese heritage have been forged, and provides a wealth of evidence that questions established assumptions on the nature and social roles of heritage.

"This edition presents the most prominent topics and applications of digital image processing, analysis, and computer graphics in the field of cultural heritage preservation. The text assumes prior knowledge of digital image processing and computer graphics fundamentals. Each chapter contains a table of contents, illustrations, and figures that elucidate the presented concepts in detail, as well as a chapter summary and a bibliography for further reading. Well-known experts cover a wide range of topics and related applications, including spectral imaging, automated restoration, computational reconstruction, digital reproduction, and 3D models"--

Described by GEM* as 'a very informative and practical book ... worth having on any museum shelf', the Museum Educator's Handbook is a thorough and practical guide to setting up and running education services in all types of museum, even the smallest, in any geographical setting. This third edition has been comprehensively updated to reflect the increased emphasis on the role of museums at all levels of education, from schools to further and higher education. There are new sections which deal with the importance of risk management and quality assurance, as well as guidance on the prevalent use of policy documents and new marketing methods. *Group for Education in Museums

Mapping a New Museum seeks to rethink the museum's role in today's politically conscious world. Presenting a selection of innovative projects that have taken place in Latin America over the last year, the book begins to map out possibilities for the future of the global museum. The projects featured within the pages of this book were all supported by The Santo Domingo Centre of Excellence for Latin American Research (SDCELAR) at the British Museum (BM), with the aim of making the BM's Latin American collections meaningful to communities in the region and others worldwide. These projects illustrate how communities manage cultural heritage and, taken together, they suggest that there is also no all-encompassing counter-narrative that can be used to "decolonise" museums. Reflecting on, and experimenting with, the ways that research happens within museum collections, the interdisciplinary collaborations described within these pages have used collections to tell stories that destabilise societal assumptions, whilst also proactively seeking out that which has historically been overlooked. The result is, the book argues, a research environment that challenges intellectual orthodoxy and values critical and alternative forms of knowledge. Mapping a New Museum contains English and Spanish versions of every chapter, which enables the book to put critical stress on the self-referentiality of Anglophone literature in the field of museum anthropology. The book will be essential reading for students, scholars and museum practitioners working around the world.

Mapping a New Museum seeks to rethink the museum's role in today's politically conscious world. Presenting a selection of innovative projects that have taken place in Latin America over the last year, the book begins to map out possibilities for the future of the global museum. The projects featured within the pages of this book were all supported by The Santo Domingo Centre of Excellence for Latin American Research (SDCELAR) at the British Museum (BM), with the aim of making the BM's Latin American collections meaningful to communities in the region and others worldwide. These projects illustrate how communities manage cultural heritage and, taken together, they suggest that there is also no all-encompassing counter-narrative that can be used to "decolonise" museums. Reflecting on, and experimenting with, the ways that research happens within museum collections, the interdisciplinary collaborations described within these pages have used collections to tell stories that destabilise societal assumptions, whilst also proactively seeking out that which has historically been overlooked. The result is, the book argues, a research environment that challenges intellectual orthodoxy and values critical and alternative forms of knowledge. Mapping a New Museum contains English and Spanish versions of every chapter, which enables the book to put critical stress on the self-referentiality of Anglophone literature in the field of museum anthropology. The book will be essential reading for students, scholars and museum practitioners working around the world.

Routledge Companion to Museum Ethics is a theoretically informed reconceptualization of museum ethics discourse as a dynamic social practice central to the project of creating change in the museum. Through twenty-seven chapters by an international and interdisciplinary group of academics and practitioners it explores contemporary museum ethics as an opportunity for growth, rather than a burden of compliance. The volume represents diverse strands in museum activity from exhibitions to marketing, as ethics is embedded in all areas of the museum sector. What the contributions share is an understanding of the contingent nature of museum ethics in the twenty-first century--its relations with complex economic, social, political and technological forces and its fluid ever-shifting sensibility. The volume examines contemporary museum ethics through the prism of those disciplines and methods that have shaped it most. It argues for a museum ethics discourse defined by social responsibility, radical transparency and shared guardianship of heritage. And it demonstrates the moral agency of museums: the concept that museum ethics is more than the personal and professional ethics of individuals and concerns the capacity of institutions to generate self-reflective and activist practice.

Sustainability in an Imaginary World explores the social agency of art and its connection to complex issues of sustainability. Over the past decade, interest in art's agency has ballooned as an increasing number of fields turn to the arts with ever-expanding expectations. Yet just as art is being heralded as a magic bullet of social change, research is beginning to throw cautionary light on such enthusiasm, challenging the linear, prescriptive, instrumental expectations such transdisciplinary interactions often imply. In this, art finds itself at a treacherous crossroads, unable to turn a deaf ear to calls for help from an increasing number of ostensibly non-aesthetic fields, yet in answering such prescriptive urgencies, jeopardizing the very power for which its help was sought in the first place. This book goes in search of a way forward, proposing a theory of art aiming to preserve the integrity of arts practices within transdisciplinary mandates. This approach is then explored through a series of case studies developed in collaboration with some of Canada's most prominent artists, including internationally renowned nature poet Don McKay; Italian composer and Head of Vancouver New Music, Giorgio Magnanesi; the renowned Electric Company Theatre, led by Kevin Kerr; and finally through a largescale multimedia installation aiming to reimagine the relationship between climate, culture, and human agency. Sustainability in an Imaginary World will be of great interest to students and scholars of arts-based research fields, sustainability studies, and environmental humanities.

What happens when a monumental thing is physically destroyed? Is its "life" as a socially significant, presencing thing at an end? Or might the process of destruction work to enhance its symbolic force, mediating work and presencing power? In this book Andrea Connor traces the 'afterlife' of two exemplary examples of monumental destruction and their re-investment with cultural value and symbolic significance. In 1993, during the Bosnian war, the Mostar Bridge was completely destroyed. Reconstructed in 2004, as an exact copy of the original, this "new Old Bridge" has assumed an afterlife as an intentional monument to reconciliation. The World Trade Centre, in New York, has also been transformed since its destruction in 2001, as a place of national mourning and remembrance, a symbolic void marking a singular act of terrorism. Using recent work on affect and object agency Connor considers their contested reconfiguration as sites of collective remembering and forgetting in new highly charged political contexts. She argues for a more expansive notion of reconstruction - encompassing not only the material and symbolic afterlife of both things but also their affecting afterlives as they are re-assembled in the present. Provoking a reconsideration of the way monuments and heritage sites, even in their absence, become powerful agents of historical narrativization, this work will be of interest to students and scholars in a range of fields including international relations, cultural studies, critical heritage studies, and material culture studies.

Written by one of the world's leading authorities on the public use of museums, The Value of Museums: Enhancing Societal Well-Being provides a timely and compelling way for museum professionals to better understand and explain the benefits created by museum experiences. The key insight this book advances is that museum experiences successfully support a major driver of human behavior - the desire for enhanced well-being. Knowingly or not, the business of museums has always been to support and enhance the public's personal, intellectual, social and physical well-being. Over the years, museums have excelled at this task, as evidenced by the almost indelible memories museum experiences engender. People report that museum experiences make them feel better about themselves, more informed, happier, healthier and more enriched; all outcomes directly related to enhanced well-being. Historically, benefits such as enhanced well-being were seen as vague and intangible, but Falk shows that enhanced well-being, when properly conceptualized, can not only be defined and measured, but also can be monetized. However, as many in the museum world are painfully aware, what worked yesterday for museums may not work in the future as recessions and pandemics rapidly alter the landscape. Although insights about past experiences are interesting, what is needed now is a roadmap for the future. Fortunately for museums, the public's need for enhanced well-being will not be disappearing any time soon; enhanced well-being is now, and will always be, a fundamental and on-going human need. What has and will change, though, is how people choose to satisfy their well-being-related needs. The Value of Museums provides tangible suggestions for how museum professionals can build on their legacy of success at supporting the public's well-being, adapting to changing times, and remaining relevant and sustainable in the future.

Visits to museums have long been an important aspect of the education of young people and in recent years it has been increasingly recognised that education is core to the purpose of the museum. Not only do they introduce students to the many and varied forms of our material culture, they also introduce them to social, historical and scientific encounters that are difficult to find elsewhere. The second edition of this popular book takes account of the ongoing changes in both museums and education to provide a comprehensive introduction for student teachers, practising teachers and other educators to all that is required to make good educational use of museums. It explores what a museum is, their value in primary and secondary education and why they require special teaching skills. It then goes on to look at the practicalities of planning, preparing and conducting a visit, including risk assessment. Next, it introduces the basic skills involved in working with the resources that are required to make the best educational use of museums, including online and digital resources. Finally, the author considers ways of following-up work done outside the classroom, including some of the longer term strategies that teachers should consider.

Since the late 1970s human remains in museum collections have been subject to claims and controversies, such as demands for repatriation by indigenous groups who suffered under colonization. These requests have been strongly contested by scientists who research the material and consider it unique evidence. This book charts the influences at play on the contestation over human remains and examines the construction of this problem from a cultural perspective. It shows that claims on dead bodies are not confined to once colonized groups. A group of British Pagans, Honouring the Ancient Dead, formed to make claims on skeletons from the British Isles, and ancient human remains, bog bodies and Egyptian mummies, which have not been requested by any group, have become the focus of campaigns initiated by members of the profession, at times removed from display in the name of respect. By drawing on empirical research including extensive interviews with the claims-making groups, ethnographic work, document, media, and policy analysis, Contesting Human Remains in Museum Collections demonstrates that strong internal influences do in fact exist. The only book to examine the construction of contestation over human remains from a sociological perspective, it advances an emerging area of academic research, setting the terms of debate, synthesizing disparate ideas, and making sense of a broader cultural focus on dead bodies in the contemporary period.

Kids have profound and important relationships to the past, but they don't experience history in the same way as adults. For museum professionals and everyone involved in informal history education and exhibition design, this book is the essential new guide to creating meaningful and memorable connections to the past for children. This vital museum audience possesses many of the same dynamic qualities as trained historian--curiosity, inquiry, empathy for the human
experience--yet traditional history exhibitions tend to focus on passive looking in the galleries, giving priority to relaying information through words. D. Lynn McRainey and John Russick bring together top museum professionals to present state-of-the-art research and practice that respects and incorporates kids' developmental stages and learning preferences and the specific ways in which kids connect to history. They provide concrete tools for audience research and evaluation; exhibition development and design; and working with kids as "creative consultants." The only book to focus comprehensively on history exhibits for kids, Connecting Kids to History With Museum Exhibitions shows how to enhance the experiences of a vitally important but frequently the least understood museum audience.

This book examines British collectors of so-called Persian art (a broad umbrella term then covering a large portion of Islamic art) in the late 19th century, including ceramics, metalwork, carpets, textiles and woodwork. Based on a foundational event, the very first exhibition of "Persian and Arab Art" held by a London Gentlemen's Club in 1885, this book follows one generation of men, retracing the subtle shades of difference among "amateurs," "connoisseurs," "experts" and "collectors," and exploring all the mechanisms of the construction of a collective fascination for the Orient. Isabelle Gadoin uncovers some of the first "scientific" analyses of Islamic objects and of the first private notebooks or exhibition catalogues, to provide an in-depth study of the way Westerners talked about Islamic objects and began to define what would become Islamic art history. All the while, Gadoin unravels the skein of Western prejudice, Romantic fancy, sincere admiration and ruthless appropriation, in art collecting, to write a new chapter of Orientalist history. The book will be of interest to scholars working in art history, history of collecting, colonialism and postcolonialism, and Orientalism.

Re-Presenting Disability addresses issues surrounding disability representation in museums and galleries, a topic which is receiving much academic attention and is becoming an increasingly pressing issue for practitioners working in wide-ranging museums and related cultural organisations.

This volume of provocative and timely contributions, brings together twenty researchers, practitioners and academics from different disciplinary, institutional and cultural contexts to explore issues surrounding the cultural representation of disabled people and, more particularly, the inclusion (as well as the marked absence) of disability-related narratives in museum and gallery displays. The diverse perspectives featured in the book offer fresh ways of interrogating and understanding contemporary representational practices as well as illuminating existing, related debates concerning identity politics, social agency and organisational purposes and responsibilities, which have considerable currency within museums and museum studies.

Re-Presenting Disability explores such issues as:

• In what ways have disabled people and disability-related topics historically been represented in the collections and displays of museums and galleries? How can newly emerging representational forms and practices be viewed in relation to these historical approaches?

• How do emerging trends in museum practice designed to counter prejudiced, stereotypical representations of disabled people relate to broader developments in disability rights, debates in disability studies, as well as shifting interpretive practices in public history and mass media?

• What approaches can be deployed to mine and interrogate existing collections in order to investigate histories of disability and disabled people and to identify material evidence that might be marshalled to play a part in countering prejudice? What are the implications of these developments for contemporary collecting?

• How might such purposive displays be created and what dilemmas and challenges are curators, educators, designers and other actors in the exhibition-making process, likely to encounter along the way?

• How do audiences disabled and non-disabled respond to and engage with interpretive interventions designed to confront, undercut or reshape dominant regimes of representation that underpin and inform contemporary attitudes to disability?