From one of America's foremost experts in museum and cultural heritage law, here is a comprehensive guide to both U.S. and international laws and conventions affecting museums, art galleries, natural and historic heritage, and other cultural organizations. This authoritative guide: *begins naturally with laws protecting art and artists (include artists' freedom of expression, invasion of privacy, right of publicity, and trade laws), *moves on to protection of artists' property rights through copyright laws, and then *goes into international laws and conventions (with full coverage of the Hugue Convention for the Protection of Cultural Property in the Event of Armed Conflict, the UNESCO Convention on the Means of Prohibiting and Preventing the Illicit Import and Export and Transfer of Ownership of Cultural Property, and the UNIDROIT Convention on the International Return of Stolen or Illegally Exported Cultural Objects), *features full coverage of U.S. laws protecting cultural heritage such as the Antiquities Act, the Historic Sites Act, the National Historic Preservation Act, the National Film Preservation, State Preservation Acts, and the National Stolen Properties Act *includes detailed coverage of U.S. laws protecting our natural heritage such as the Lacey Act, the Endangered Species Act, and the Marine Mammal Protection Act *features much needed current coverage of laws affecting the operation of museums, ranging from organizational structure and accounting to governance and use of guards and volunteers *includes invaluable details of laws related to museum collections, including: opurchases oloans ogifts odeaccessioning *detailed coverage of laws and regulations governing the tax-exempt status for museums, including how to fill out required forms *unprecedented attention to museums' unrelated business taxable income from such increasingly common activities as gifts shops, snack bars, travel tours, and sponsorships. No museum, cultural heritage site, or historical site can afford to be without this authoritative guide.

This book maps key moments in the history of postwar art from a global perspective. The reader is introduced to a new globally oriented approach to art, artists, museums and movements of the postwar era (1945-70). Specifically, this book bridges the gap between historical artistic centers, such as Paris and New York, and peripheral loci. Through case studies, previously unknown networks, circulations, divides and controversies are brought to light. From the development of Ethiopian modernism, to the showcase of Brazilian modernity, this book provides readers with a new set of coordinates and a reassessment of well-trodden art historical narratives around modernism. This book will be of interest to scholars in art historiography, art history, exhibition and curatorial studies, modern art and globalization.

Museums have moved from a product to a marketing focus within the last ten years. This has entailed a painful reorientation of approaches to understanding visitors as 'customers'; new ways of fundraising and sponsorship as government funding decreases; and grappling with using the internet for marketing. This book brings the latest in marketing thinking to bear on the museum sector taking into account both the commercial issues and social mission it involves. Carefully structured to be highly accessible the book offers:
* A contemporary and relevant and global approach to museum marketing written by authors in Britain, Australia, the United States, and Asia
* An approach that reflects the particular challenges museums of varying sizes face when seeking to market an experience to a diverse set of stakeholders:
audience; funders; sponsors and government.
* A particular focus on museum marketing in the 'Information Age'
* Major case studies at the beginning and end of each section of the book, and smaller case studies within chapters
The hugely experienced author team, includes both leading academics and practitioners to ensure the book has broad appeal and is both relevant, innovative and progressive in approach. It will be essential reading for students in museum studies, non-profit marketing, and arts management and marketing. It will also be equally relevant for professionals working in and managing museums and galleries, heritage attractions and ministries of arts.
* The most up-to-date treatment of marketing museums with a global approach
* Blend of academic and practitioner expertise to appeal to students and professionals seeking a contemporaryand relevant approach
* Features a range of international case studies that demonstrate the museum experience and draw out the particular challenges that museums and galleries of varying sizes and types face in the global marketplace

On the Pulse of the Museum as Institution of the Future For quite some time now, ethnographic museums in Europe have been compelled to legitimate themselves. Their exhibition-making has become a topic of discussion, as has the contentious history of their collections, which have come about through colonial appropriation. Clearly, this cannot continue. That the situation can be different is something that Clementine Deliss explores in her current publication. She offers an intriguing mix of autobiographically-informed novel and conceptual thesis on contemporary art and anthropology. Reflections on her own work while she was Director of Frankfurt's Weltkulturen Museum (Museum of World Cultures) are interwoven with the explorations of influential filmmakers, artists and writers. She introduces the Metabolic Museum as an interventionist laboratory for remediating ethnographic collections for future generations. CLEMENTINE DELISS has achieved international renown as a curator, cultural historian and publisher of artist's books. In her role as Director of the Weltkulturen Museum in Frankfurt, as a curator, and as a professor and researcher at eminent institutes and academies, she focuses on transdisciplinary and transcultural exchanges. She is Associate Curator of KW Berlin and Guest Professor at the Academy of Arts, Hamburg.

Rosie Strange is back in the latest of the fabulously creepy Essex Witch Museum Mysteries Secretly Rosie Strange has always thought herself a little bit more interesting than most people – the legacy her family has bequeathed her is definitely so, she’s long believed. But then life takes a peculiar turn when the Strange legacy turns out not just to be the Essex Witch Museum, but perhaps some otherworldly gifts that Rosie finds difficult to fathom. Meanwhile Sam Stone, Rosie’s curator, is oddly distracted as breadcrumb clues into what happened to his missing younger brother and other abducted boys from the past are poised to lead him and Rosie deep into a dark wood where there lurks something far scarier than Hansel and Gretel’s witch… Praise for the Essex Witch Museum Mysteries: ‘I gleefully submitted to a tale of witchcraft, feminism, mysterious strangers, historical atrocities, plucky heroines and ghastly apparitions – and came away more proud than ever to be an Essex girl.’ Sarah Perry, author of The Essex Serpent ‘Confident, down-to-earth Essex girl Rosie is an appealing character, and there is plenty of spooky fun in this spirited genre mashup.’ Guardian

Concentrating on the explorer and naturalist Joseph Banks (1743-1820), this book explores the early history of collections at the British Museum. Taking Banks' extraordinary career as its basis, it examines the changes that took place during a period of transition that led to collecting on an increasingly global scale.

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.

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.

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.

Museums of Cinema and their Audience examines how cinema has been transformed and strengthened through museological and archival activities since its origins, and asks what paradoxes may be involved in putting cinema in a museum.

Cere examines the ideas which developed around the need to establish national museums of cinema, how these have negotiated and defined the boundary between the national and the international in their exhibitionary and screening practices. She looks at the tensions between the history of film as an aesthetic product and cinema as a a leisurea (TM) activity, and at how, museums of cinemaa (TM)s exhibitions, collections and festivals organised under their aegis, resolve them. The book also explores the way the ideal of public access to a cultural heritage is contradicted by the recent emphasis on museums as 'tourist spaces for individualised consumption'.

All these themes combined will be concretised through the empirical study of five different museums of cinema, including a visitor and audience study and interviews with leading staff, adopting a comparative focus because the resolution of many of the theoretical questions posed above may be shaped by the prevailing sense of national cultural and filmic traditions, as well as the motivations of founders and funding agencies, which may be inflected differently in varying national contexts.

This book challenges the status quo of the materiality of exhibited photographs, by considering examples from the early to mid-twentieth century, when photography's place in the museum was not only continually questioned but also continually redefined. By taking this historical approach, Laurie Taylor demonstrates the ways in which materiality (as opposed to image) was used to privilege the exhibited photograph as either an artwork or as non-art information. Consequently, the exhibited photograph is revealed, like its vernacular cousins, to be a social object whose material form, far from being supplemental, is instead integral and essential to the generation of meaning. The book will be of interest to scholars working in art history, history of photography, theory of photography, curatorial studies and museum studies.

"Museums and the Combating of Prejudice" addresses an increasingly significant issue for museums internationally but one which has, to date, received very little theoretical or empirical investigation. In recent years there has been a growing interest, within the academy, and amongst cultural policy makers and practitioners, in the social role, impact and responsibility of museums. It is possible to detect a growing confidence amongst practitioners, internationally, in articulating goals which position museums as agents of positive social change. The volume is not focused on a singular, specific type of prejudice but is concerned rather more broadly with the ways in which the "other" is constituted and perceived resulting in wide-ranging forms of prejudice on the basis of, for example, sexual orientation, race, gender, disability, religious faith and so on.
Though there is considerable rhetoric surrounding the museum's role in this area there is both a paucity of empirical evidence anda lack of theoretical interrogation with which to inform and substantiate these assertions. "Museums and the" "Combating of Prejudice," uniquely, blends leading-edge theory with in-depth empirical research to investigate the processes through which museums inform audiences' values and attitudes and, alongside other media, contribute towards broader social change.
Interest in the social role of museums and their potential to combat prejudice extends to many parts of the world. Alongside a small but growing number of specialist museums whose primary purpose and rationale is built around the combating of prejudice, museums of all kinds are increasingly concerned to represent variously constitutedforms of cultural difference through their collections and displays. The book reflects this by drawing upon a wide range of international examples including those in the US (e.g. initiatives at the Smithsonian Museums, the United States Holocaust Memorial Museum, Lower East Side Tenement Museum, Museum of Tolerance), Canada (e.g. the proposed Canadian Museum for Human Rights), South Africa (e.g. Constitution Hill and the Apartheid Museum), Australia (Migration Museum, National Museum of Australia). In addition, the book draws on empirical data generated from interviews with museum audiences and staff at the Anne Frank House (Amsterdam, Holland) and St Mungo's Museum of Religious Life and Art (Glasgow, Scotland).
"Museums and the Combating of Prejudice" brings together contemporary theoretical developments in sociological, media and audience studies, combined with in-depth field research (from a number of different research projects), to explore the ways in which museums might achieve their goals of combating prejudice. It focuses, in particular, on the ways in which audiences "read," engage with, and construct meaning from museum exhibitions and displays that purposefully seek to combat prejudice but also considers the curatorial implications arising from the museum's engagement with these issues.
"Museums and the Combating of Prejudice" addresses issues of critical importance for those working in and thinking about museums and make a unique contribution to live debates within sociology, media and audience studies.

This book explores the memory and representation of genocide as they affect individuals, communities and families, and artistic representations. It brings together a variety of disciplines from public health to philosophy, anthropology to architecture, offering readers interdisciplinary and international insights into one of the most important challenges in the 21st century. The book begins by describing the definitions and concepts of genocide from historical and philosophical perspectives. Next, it reviews memories of genocide in bodies and in societies as well as genocide in memory through lives, mental health and transgenerational effects. The book also examines the ways genocide has affected artistic works. From poetry to film, photography to theatre, it explores a range of artistic approaches to help demonstrate the heterogeneity of representations. This book provides a comprehensive and wide-ranging assessment of the many ways genocide has been remembered and represented. It presents an ideal foundation for understanding genocide and possibly preventing it from occurring again.

Museum Innovation and Social Entrepreneurship makes a contribution towards building a museum perspective of innovation that takes into consideration the unique role of museums in society. Beginning and ending with the idea of museum innovation in a wider sense, the book takes digital innovation as a particular focus. Drawing on innovation theories from business studies and case studies from national museums in the US and the UK, as well as numerous examples of innovative museum projects around the globe, the author unpacks, in practical terms, what it means for museums to be innovative and socially enterprising. As a result, Eid presents a research-based model of innovation in museums, which is flexible enough to be fully or partially adopted by any museum, regardless of size, location, mission or nature of the collections it houses. As such, this model makes innovation in museums scalable, replicable and feasible to start and operate. Supplying the museum studies field with essential terminologies and conceptual frameworks related to innovation, Museum Innovation and Social Entrepreneurship helps to forge new ideas and create common ground with other disciplines. Therefore, the book should be essential reading for academics, researchers and graduate students working in the fields of museum and heritage studies, digital humanities and business studies. It should also be of great interest to practitioners working in museums around the globe.

Underwater Cultural Heritage investigates cases of underwater cultural heritage, exploring ethical issues that have never been studied before. A vast cultural heritage lies beneath the sea, including the archaeological remains of more than three million vessels, as well as historic monuments and whole cities. In addition, climate change, population growth and current events around the world mean that new underwater cultural heritage is being created faster than ever before. It is, therefore, essential that the ethical issues related to the management of such heritage are considered now, especially as decisions made now will bestow the heritage with a value and will establish legal frameworks that could be used either to protect or harm underwater heritage in the future. Considering a range of challenges related to underwater cultural heritage - including preservation, management, use, sustainability, valuation, politics, identity, human rights, and intangible heritage - the book presents case studies that both illustrate the key ethical issues and also offer possible solutions to help navigate such challenges. The book will also explore the various legislative instruments protecting underwater cultural heritage and emphasise the importance of revising and updating legal frameworks, whilst also taking into account ethical concerns that may expose cultural heritage to more serious menaces. Underwater Cultural Heritage draws on case studies from around the globe and, as such, should be of great interest to academics, researchers and students working in heritage studies, archaeology, history, politics and sustainability. It should also be appealing to heritage practitioners and policymakers who want to learn more about the issues surrounding not only management of underwater cultural heritage but management of cultural heritage in general.

This book explores the organic lives of popular Sufi shrines in contemporary Northwest India. It traverses the worldview of shrine spaces, rituals and their complex narratives, and provides an insight into their urban and rural landscapes in the post-Partition (Indian) Punjab. What happened to these shrines when attempts were made to dissuade Sikhs, Muslims and Hindus from their veneration of popular saints in the early twentieth century? What was the fate of popular shrines that persisted even when the Muslim population was virtually wiped off as a result of migration during Partition? How did these shrines manifest in the context of the threat posed by militants in the 1980s? How did such popular practices reconfigure themselves when some important centres of Sufism were left behind in the West Punjab (now Pakistan)? This book examines several of these questions and utilizes a combination of analytical tools, new theoretical tropes and an ethnographic approach to understand and situate popular Sufi shrines so that they are both historicized and spatialized. As such, it lays out some crucial contours of the method and practice of understanding popular sacred spaces (within India and elsewhere), bridging the everyday and the metanarratives of power structures and state formation. This book will be useful to scholars, researchers and those engaged in interdisciplinary work in history, social anthropology, historical sociology, cultural studies, historical geography, religion and art history, as well as those interested in Sufism and its shrines in South Asia.

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.

Diversity and Philanthropy at African American Museums is the first scholarly book to analyze contemporary African American museums from a multifaceted perspective. While it puts a spotlight on the issues and challenges related to racial politics that black museums collectively face in the 21st century, it also shines a light on how they intersect with corporate culture, youth culture, and the broader cultural world. Turning the lens to philanthropy in the contemporary era, Banks throws light on the establishment side of African American museums and demonstrates how this contrasts with their grassroots foundations. Drawing on over 80 in-depth interviews with trustees and other supporters of African American museums across the United States, this book offers an inside look at the world of cultural philanthropy. While patrons are bound together by being among the distinct group of cultural philanthropists who support black museums, the motivations and meanings underlying their giving depart in both subtle and considerable ways depending on race and ethnicity, profession, generation, and lifestyle. Revealing not only why black museums matter in the eyes of supporters, the book also complicates the conventional view that social class drives giving to cultural nonprofits. It also paints a vivid portrait of how diversity colors cultural philanthropy, and philanthropy more broadly, in the 21st century. Diversity and Philanthropy at African American Museums will be a valuable resource for scholars and practitioners engaged with African American heritage. It will also offer important insights for academics, as well as cultural administrators, nonprofit leaders, and fundraisers who are concerned with philanthropy and diversity.

Cultural Heritage, Ageing, Disability, and Identity examines the effects of disability and ageing on engagement with cultural heritage and associated cultural identity formation processes. Combining theory with detailed case study research, it unpicks both the current state of play and future directions. The book is based upon detailed case example research on both the self-reported individual experiences of people with disabilities engaging with cultural heritage, and the accessibility approaches of cultural heritage institutions themselves. Hayhoe grounds the analysis in a theoretical and historical overview of disability and inclusion. He interrogates the various ways in which identity is formed through interaction with cultural heritage, and considers the differences in engagement with cultural heritage amongst those who develop disabilities early in life compared to those who acquire disabilities later in life. His conclusions offer insights that can help improve the provision of cultural heritage engagement to all people, but particularly those with disabilities. Cultural Heritage, Ageing, Disability, and Identity is key reading for students and scholars of cultural heritage, visitor studies, and disability studies, and will also be of interest to other subject areas engaging with issues of accessibility. It should also be read by institutions looking to improve their accessibility strategy to engage broader audiences.

The first substantial Mexican colonial art historiography in English, this book examines the origin of the study of colonial art in Mexico as a symptom of the development of modern museum practice in mid-nineteenth-century Mexico City. Also an intellectual history, this study recognizes the role of nationalism in the initiation of art historical practice in what is understood today more broadly as Latin America. Although there has been a steady stream of scholarship produced about the subject, beginning in Mexico and increasingly in the United States, what is variably known as viceregal or colonial Mexican, Spanish colonial, and colonial Latin American art continues to be underplayed or overlooked by most art historians and is thus marginal in the field of art history. Ray Hernandez-Duran redresses that omission, presenting a detailed examination of the origin of the study of colonial art in Mexico. Drawing upon archival research, this volume touches upon the role of politics on the formation of the first gallery of Mexican painting in the Academy of San Carlos and the first comprehensive historical treatment of the material in the form of a dialogue. Furthermore, this study promotes further research in colonial art historiography and underlines the pivotal role that the Indo-Hispanic Americas played in the emergence of early modernity and the process of globalization.

What is the relationship today between museums, galleries and learning? The Responsive Museum interrogates the thinking, policies and practices that underpin the educational role of the museum. It unravels the complex relationship of museums with their publics, and discusses today's challenges and the debates that have resulted. The highly experienced team of writers, including museum educators and directors, share their different experiences and views, and review recent research and examples of best practice. They analyse the implications of audience development and broadening public access, particularly in relation to special groups, minority communities and disabled people, and for individual self-development and different learning styles; they explore issues of public accountability and funding; discuss the merits of different evaluation tools and methodologies for measuring audience impact and needs; and assess the role of architects, designers and artists in shaping the visitor experience. The latter part of this book reviews practical management and staffing issues, and training and skills needs for the future. This book is for students, museum staff, especially those involved in education and interpretation, and senior management and policy-makers. This is a much-needed review of the relationship between museums and galleries and their users. It also offers a wealth of information and expertise to guide future strategy and practice.

"Museums and the Combating of Prejudice" addresses an increasingly significant issue for museums internationally but one which has, to date, received very little theoretical or empirical investigation. In recent years there has been a growing interest, within the academy, and amongst cultural policy makers and practitioners, in the social role, impact and responsibility of museums. It is possible to detect a growing confidence amongst practitioners, internationally, in articulating goals which position museums as agents of positive social change. The volume is not focused on a singular, specific type of prejudice but is concerned rather more broadly with the ways in which the "other" is constituted and perceived resulting in wide-ranging forms of prejudice on the basis of, for example, sexual orientation, race, gender, disability, religious faith and so on.
Though there is considerable rhetoric surrounding the museum's role in this area there is both a paucity of empirical evidence anda lack of theoretical interrogation with which to inform and substantiate these assertions. "Museums and the" "Combating of Prejudice," uniquely, blends leading-edge theory with in-depth empirical research to investigate the processes through which museums inform audiences' values and attitudes and, alongside other media, contribute towards broader social change.
Interest in the social role of museums and their potential to combat prejudice extends to many parts of the world. Alongside a small but growing number of specialist museums whose primary purpose and rationale is built around the combating of prejudice, museums of all kinds are increasingly concerned to represent variously constitutedforms of cultural difference through their collections and displays. The book reflects this by drawing upon a wide range of international examples including those in the US (e.g. initiatives at the Smithsonian Museums, the United States Holocaust Memorial Museum, Lower East Side Tenement Museum, Museum of Tolerance), Canada (e.g. the proposed Canadian Museum for Human Rights), South Africa (e.g. Constitution Hill and the Apartheid Museum), Australia (Migration Museum, National Museum of Australia). In addition, the book draws on empirical data generated from interviews with museum audiences and staff at the Anne Frank House (Amsterdam, Holland) and St Mungo's Museum of Religious Life and Art (Glasgow, Scotland).
"Museums and the Combating of Prejudice" brings together contemporary theoretical developments in sociological, media and audience studies, combined with in-depth field research (from a number of different research projects), to explore the ways in which museums might achieve their goals of combating prejudice. It focuses, in particular, on the ways in which audiences "read," engage with, and construct meaning from museum exhibitions and displays that purposefully seek to combat prejudice but also considers the curatorial implications arising from the museum's engagement with these issues.
"Museums and the Combating of Prejudice" addresses issues of critical importance for those working in and thinking about museums and make a unique contribution to live debates within sociology, media and audience studies.

Originally published in 1947, The Vertical Man explores a form of Indian sculpture largely ignored in other studies, with a focus on two kinds of sculpture from the province of Bihar. The book provides detailed analysis of the formal characteristics of the sculpture and the influences of the myth, ritual, and context in which they were commissioned and made. It explains why the sculpture is regional and "why the styles are what they are". It is an original study which throws light on important subjects such as the relations of art and religion and of art and economics. The Vertical Man will appeal to those with an interest in art, specifically sculpture and the art of the Indian countryside.

This book focuses on the balance between protecting human rights and protecting world heritage sites. It concerns itself with the idea that the management of heritage properties worldwide may fail to adequately respect traditional entitlements and rights of individuals and communities living within or being affected by changes in the use of these spaces. It also explores the concept that the international heritage field has limited knowledge and awareness of this challenge. The volume argues that the dilemmas in question result from different conceptualisations of the key terms of 'rights', 'heritage' and 'community' among different groups and across political and cultural boundaries. In so far as 'culture' is what enables us to read the meanings involved, the ultimate questions are those that ask whose power is contested when one meaning is 'fixed' and the heritage of one group of humans is given the right to have its symbolic representation enjoyed and protected. The included case studies give vivid examples of this. This book was originally published as a special issue of the International Journal of Heritage 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.