This new and substantially revised edition of Heritage Planning: Principles and Process offers an extensive overview of the burgeoning fields of heritage planning and conservation. Positioning professional practice within its broader applied and theoretical contexts, the authors provide a firm foundation for understanding the principles, history, evolution, debates, and tools that inform heritage planning, while also demonstrating how to effectively enact these processes. Few published works focus on the practice of heritage planning. The first edition of this book was developed to fill this gap, and this second edition builds upon it. The book has been expanded in scope to incorporate new research and approaches, as well as a wide range of international case studies. New themes reflect the emerging recognition that sustainability, climate resilience, human rights, social justice, and reconciliation are fundamental to the future of planning. Heritage Planning is indispensable reading, not only for professionals who transform the built environment, but for anyone who wants to understand the ideas and practices of heritage planning and conservation. For the benefit of student readers, twelve chapters-designed to accommodate the academic semester-are augmented with concise summaries, key terms and definitions, questions, and learning objectives.

The use of new media in the service of cultural heritage is a fast growing field, known variously as virtual or digital heritage. New Heritage, under this denomination, broadens the definition of the field to address the complexity of cultural heritage such as the related social, political and economic issues. This book is a collection of 20 key essays, of authors from 11 countries, representing a wide range of professions including architecture, philosophy, history, cultural heritage management, new media, museology and computer science, which examine the application of new media to cultural heritage from a different points of view. Issues surrounding heritage interpretation to the public and the attempts to capture the essence of both tangible (buildings, monuments) and intangible (customs, rituals) cultural heritage are investigated in a series of innovative case studies.

Object-Based Learning and Well-Being provides the first explicit analysis of the combined learning and well-being benefits of working with material culture and curated collections. Following on from the widely acclaimed Engaging the Senses, this volume explicitly explores the connection between the value of material culture for both learning and well-being. Bringing together experts and practitioners from eight countries on four continents, the book analyses the significance of curated collections for structured cultural interventions that may bring both educational and well-being benefits. Topics covered include the role of material culture in relation to mental health; sensory impairments; and general student and teacher well-being. Contributors also consider how collections can be employed to positively address questions of identity and belonging relating to marginalisation, colonialism and forced displacement. Object-Based Learning and Well-Being should be a key first point of reference for academics and students who are engaged in the study of object-based learning, museums, heritage, health and well-being. The book will be of particular interest to practitioners working in higher education, or those working in the cultural, heritage, museums and health sectors.

Interpreting Heritage is a practical book about the planning and delivery of interpretation that will give anyone working in the heritage sector the confidence and tools they need to undertake interpretation. Steve Slack suggests a broad formula for how interpretation can be planned and executed and describes some of the most popular - and potentially challenging, or provocative - forms of interpretation. Slack also provides practical guidance about how to deliver different forms of interpretation, while avoiding potential pitfalls. Exploring some of the ethical questions that arise when presenting information to the public and offering a grounding in some of the theory that underpins interpretive work, the book will be suitable for those who are completely new to interpretation. Those who already have some experience will benefit from tools, advice and ideas to help build on their existing practice. Drawing upon the author's professional experiences of working within, and for, the heritage sector, Interpreting Heritage provides advice and suggestions that will be essential for practitioners working in museums, art galleries, libraries, archives, outdoor sites, science centres, castles, stately homes and other heritage venues around the world. It will also be of interest to students of museum and heritage studies who want to know more about how heritage interpretation works in practice.

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.

Museum Informatics explores the sociotechnical issues that arise when people, information, and technology interact in museums. It is designed specifically to address the many challenges faced by museums, museum professionals, and museum visitors in the information society. It examines not only applications of new technologies in museums, but how advances in information science and technology have changed the very nature of museums, both what it is to work in one, and what it is to visit one.

To explore these issues, Museum Informatics offers a selection of contributed chapters, written by leading museum researchers and practitioners, each covering significant themes or concepts fundamental to the study of museum informatics and providing practical examples and detailed case studies useful for museum researchers and professionals. In this way, Museum Informatics offers a fresh perspective on the sociotechnical interactions that occur between people, information, and technology in museums, presented in a format accessible to multiple audiences, including researchers, students, museum professionals, and museum visitors.

Global and World Art in the Practice of the University Museum provides new thinking on exhibitions of global art and world art in relation to university museums. Taking The Fowler Museum at UCLA, USA, as its central subject, this edited collection traces how university museum practices have expanded the understanding of the 'art object' in recent years. It is argued that the meaning of cultural objects infused with the heritage and identity of 'global culture' has been developed substantially through the innovative approaches of university scholars, museum curators, and administrators since the latter part of the twentieth century. Through exploring the ways in which universities and their museums have overseen changes in the global context for art, this edited collection initiates a larger dialogue and inquiry into the value and contribution of the empirical model. The volume includes a full-colour photo essay by Marla C. Berns on the Fowler Museum's 'Fowler at Fifty' project, as well as contributions from Donald Preziosi, Catherine M. Cole, Lothar von Falkenhausen, Claire Farago, Selma Holo, and Gemma Rodrigues. It is important reading for professionals, scholars and advanced students alike.

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

Museums and Social Change explores the ways museums can work in collaboration with marginalised groups to work for social change and, in so doing, rethink the museum. Drawing on the first-hand experiences of museum practitioners and their partners around the world, the volume demonstrates the impact of a shared commitment to collaborative, reflective practice. Including analytical discussion from practitioners in their collegial work with women, the homeless, survivors of institutionalised child abuse and people with disabilities, the book draws attention to the significant contributions of small, specialist museums in bringing about social change. It is here, the book argues, that the new museum emerges: when museum practitioners see themselves as partners, working with others to lead social change, this is where museums can play a distinct and important role. Emerging in response to ongoing calls for museums to be more inclusive and participate in meaningful engagement, Museums and Social Change will be essential reading for academics and students working in museum and gallery studies, librarianship, archives, heritage studies and arts management. It will also be of great interest to those working in history and cultural studies, as well as museum practitioners and social activists around the world.

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

This work examines Egyptian mummies as artifacts in pre - 1900 America - how they got here, what happened to them afterwards, and how they were perceived by the public and archaeologists. Collected newspaper accounts and other documents reveal the progression of American interest in mummies as curiosities, commodities, and cultural lessons. Numerous mummies which no longer exist are identified, and commentary on mummy coffins and discussion of methods of public exhibition are included.

From an eminent and provocative historian, a wrenching parable of the ravages of colonialism in the South Pacific. Countless museums in the West have been criticized for their looted treasures, but few as trenchantly as the Humboldt Forum, which displays predominantly non-Western art and artifacts in a modern reconstruction of the former Royal Palace in Berlin. The Forum's premier attraction, an ornately decorated fifteen-meter boat from the island of Luf in modern-day Papua New Guinea, was acquired under the most dubious circumstances by Max Thiel, a German trader, in 1902 after two decades of bloody German colonial expeditions in Oceania. Goetz Aly tells the story of the German pillaging of Luf and surrounding islands, a campaign of violence in which Berlin ethnologists were brazenly complicit. In the aftermath, the majestic vessel was sold to the Ethnological Museum in the imperial capital, where it has remained ever since. In Aly's vivid telling, the looted boat is a portal to a forgotten chapter in the history of empire-the conquest of the Bismarck Archipelago. One of these islands was even called Aly, in honor of the author's great-granduncle, Gottlob Johannes Aly, a naval chaplain who served aboard ships that helped subjugate the South Sea islands Germany colonized. While acknowledging the complexity of cultural ownership debates, Goetz Aly boldly questions the legitimacy of allowing so many treasures from faraway, conquered places to remain located in the West. Through the story of one emblematic object, The Magnificent Boat artfully illuminates a sphere of colonial brutality of which too few are aware today.

This multidisciplinary companion offers a comprehensive overview of the global arena of public art. It is organised around four distinct topics: activation, social justice, memory and identity, and ecology, with a final chapter mapping significant works of public and social practice art around the world between 2008 and 2018. The thematic approach brings into view similarities and differences in the recent globalisation of public art practices, while the multidisciplinary emphasis allows for a consideration of the complex outcomes and consequences of such practices, as they engage different disciplines and communities and affect a diversity of audiences beyond the existing 'art world'. The book will highlight an international selection of artist projects that illustrate the themes. This book will be of interest to scholars in contemporary art, art history, urban studies, and museum studies.

Every day, in natural history museums all across the country, colonies of dermestid beetles diligently devour the decaying flesh off of animal skeletons that are destined for the museum's specimen collection. That time-saving process was developed and perfected at the University of Kansas Natural History Museum by Charles D. Bunker, a lowly assistant taxidermist who would rise to become the curator of recent vertebrates and who made an indelible mark on his field. That innovative breakthrough serves as a testament to the tenacity of a quietly determined naturalist. Bunker was part of the small team of men who constructed and installed the famous Panorama of North American Mammals, the centerpiece exhibit of the KU Natural History Museum located in Dyche Hall. That iconic building on the KU campus was expressly built to house the collection of mounted animals that impressed the world a decade earlier at the 1893 Chicago Columbian Exposition and World's Fair. Once the panorama was completed, Bunker turned his attention to field collecting. Bunker's field notes provide an accurate, authentic account of several expeditions to collect such specimens as well as a rare view of the extreme hardships of fieldwork in those early days. Perhaps most notable is “Bunk's” 1911 expedition to western Kansas, where he discovered the fossil remains of a forty-five-foot-long sea serpent—later identified as Tylosaurus proriger, an aquatic reptile from the mosasaur genus and the largest example of the species found in North America. In 2014, Tylosaurus was named the marine fossil of the state of Kansas. Birds, Bones, and Beetles tells the story of a man whose passion for learning led to remarkable discoveries, extraordinary exhibits, and the prestigious careers of many students he mentored in the natural sciences.

"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.

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.

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.

Iconoclasm and the Museum addresses the museum's historic tendency to be silent about destruction through an exploration of institutional attitudes to iconoclasm, or image breaking, and the concept's place in public display. Presenting a selection of focused case studies, Boldrick examines long-standing desires to deface, dismantle, obscure or destroy works of art and historic artefacts, as well as motivations to protect and display broken objects. Considering the effects of iconoclastic practices on artworks and cultural artefacts and how those practices are addressed in institutions, the book examines changing attitudes to the intentional destruction of powerful artworks in the past and present. It ends with an analysis of creative destruction in contemporary art making and proposes that we are entering a new phase for museums, in which they acknowledge the critical roles destruction and loss play in the lives of objects and in contemporary political life. Iconoclasm and the Museum will be important reading for academics and students in fields such as museum and gallery studies, archaeology, art history, arts management, curatorial studies, cultural studies, history, heritage and religious studies. The book should also be of great interest to museum professionals, curators and collections management specialists, and artists.

How does museum location shape the interpretation of an art object by critics, curators, art historians, and others? To what extent is the value of a work of art determined by its location? Providing a close examination of individual works of American art in relation to gallery and museum location, this anthology presents case studies of paintings, sculpture, photographs, and other media that explore these questions about the relationship between location and the prescribed meaning of art. It takes an alternate perspective in that it provides in-depth analysis of works of art that are less well known than the usual American art suspects, and in locations outside of art museums in major urban cultural centers. By doing so, the contributors to this volume reveal that such a shift in focus yields an expanded and more complex understanding of American art. Close examinations are given to works located in small and mid-sized art museums throughout the United States, museums that generally do not benefit from the resources afforded by more powerful cultural establishments such as the Museum of Modern Art and the Metropolitan Museum of Art in New York. Works of art located at institutions other than art museums are also examined. Although the book primarily focuses on paintings, other media created from the Colonial Period to the present are considered, including material culture and craft. The volume takes an inclusive approach to American art by featuring works created by a diverse group of artists from canonical to lesser-known ones, and provides new insights by highlighting the regional and the local.

"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 edited collection explores a subject of great potential for both art historians and museologists - that of the nature of the specimen and how it might be reinterpreted. Through its cross-disciplinary contributions, written by a team of art historians, artists, poets, anthropologists, critics and curators, this book looks at how artistic encounters in museums, ranging from anatomy museums to contemporary cabinets of curiosity, can provoke new modes of thinking about art, science and curating. Museological literature in the past focused on artefacts or objects; this is an original contribution to the field and offers new readings of old issues, inspiring new understandings of the relationships between art, science and curating. Brings together international expertise from art practitioners, historians, creative writers and theorists in France, the United States, United Kingdom and New Zealand. Contributions from creative practitioners draw upon their own experience of producing artworks in response to specific scientific collections while historians, anthropologists, critics and writers examine how museums stimulate, incite and otherwise inspire artistic awareness of science and its specimens. One of the most important contributions this book will make is drawing together several threads of research and practice to encourage interdisciplinary discussion. It provides new ways of thinking about the relationships between art, science, museums and their objects. It concentrates on the ways in which scientific collections kindle novel aesthetic strategies and inspire new scholarly interpretations of art, science, curating and epistemology. In so doing it will make a considerable contribution to the fields of art writing, creative practice, art theory, the history of science and curating. This book will appeal to academics, researchers, undergraduates and postgraduates studying fine art, curating, museology, art history, the history of science, creative writing; visual artists, curators, and other creative practitioners. Also of interest to museum audiences. Reading list potential.

"Art and its Publics "explores the interface between the art object, its site of display, and the viewing public.

Engines of democracy at their inception during the French Revolution, public museums have since fostered the democratization of art. As museum-going has increased dramatically in recent years, the question of "whose museum?" and how museums construct and engage their publics has taken on added urgency. The essays in "Art and its Publics "present a cross-section of current issues, with contributions from both sides of the Atlantic and from museum professionals as well as academics. Essayists tackle issues confronting the museum community and seek to further the debate between theory and practice around the most pressing of contemporary concerns.

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.

A Practical Guide to Fundraising for Small Museums: Maximizing the Marketing-Development Connection turns the traditional development program on its ears, as it starts with the needs of donors rather than the needs of the organization. Just like marketing for other goods and services, museums must begin with aligning their products with their audiences. Then they can develop fund strategies that keep their audiences in mind. While the book covers traditional strategies (such as membership and events), it approaches them from a new point of view and provides tips and sample ideas all along the way for small and mid-sized museums to implement a successful development plan. Complete with sample forms, this book is a must-have for every museum development professional, volunteer, and student who wants to succeed.

"New Museum Theory and Practice" is an original collection of essays with a unique focus: the contested politics and ideologies of museum exhibition.
Contains 12 original essays that contribute to the field while creating a collective whole for course use.
Discusses theory through vivid examples and historical overviews.
Offers guidance on how to put theory into practice.
Covers a range of museums around the world: from art to history, anthropology to music, as well as historic houses, cultural centres, virtual sites, and commercial displays that use the conventions of the museum.
Authors come from the UK, Canada, the US, and Australia, and from a variety of fields that inform cultural studies.