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.

Classical Heritage and European Identities examines how the heritages of classical antiquity have been used to construct European identities, and especially the concept of citizenship, in Denmark from the eighteenth century to the present day. It implements a critical historiographical perspective in line with recent work on the "reception" of classical antiquity that has stressed the dialectic relationship between past, present and future. Arguing that the continuous employment and appropriation of lassical heritages in the Danish context constitutes an interesting case of an imagined geography that is simultaneously based on both national and European identities, the book shows how Denmark's imagined geography is naturalized through very distinctive uses of classical heritages within the educational and heritage sectors. Chapter 1 of this book is freely available as a downloadable Open Access PDF under a Creative Commons Attribution-Non Commercial-No Derivatives 3.0 license. https://s3-us-west-2.amazonaws.com/tandfbis/rt-files/docs/Open+Access+Chapters/9781138317505_oachapter1.pdf

Radiography can be an invaluable tool for the study of a diverse array of cultural materials including metals, ceramics, paper, paintings and human and animal remains. In this book, experts in the field bring to life their experiences with the different materials, describing the techniques that can be employed to discover the stories behind the objects. This second edition, available in paperback for the first time, includes new case studies and images, as well as whole new sections on digital imaging, quality control and animal mummies.

Get practical tools to successfully develop collaborative online learning projects! Virtual museums provide an opportunity to spark learning through online access to multi-sensory information, and collaboration between sources is needed to efficiently and effectively catalog and present material. Collaborative Access to Virtual Museum Collection Information: Seeing Through the Walls presents respected authorities exploring the world of virtual collections, from the identification and selection of objects to be included to providing online access using common terminology. Future possibilities and problems are fully detailed, taking into consideration the need for fixed metadata, descriptive standards, and negotiated compromise. Solutions to difficult issues are provided to allow successful development of collaborative virtual museum projects of all types. A virtual museum can provide users with direct, easy access to information, photographs, drawings, sound files, and video clips. However, discipline-based differences in terminology between collections are as much a challenge as integrating detailed locally-developed vocabularies with more general descriptors. Collaborative Access to Virtual Museum Collection Information: Seeing Through the Walls shows how to best achieve consistent information access by providing studies of successful collaborative museum projects which resulted in the creation of catalogs of material from a number of separate collections. The book helps you to understand the challenges of dealing with an unknown online user community as well as the opportunities for presenting information to the virtual museum visitor that differs from that information available during an on-site visit. Four case studies are presented in depth and highlight practical strategies on the development of collaborative common language for future projects. Extensive references provide opportunity for further research while tables clearly illustrate data. Collaborative Access to Virtual Museum Collection Information: Seeing Through the Walls thoroughly explores: cataloging and the digital collection at the Experience Music Project the collaborative cataloging efforts using Dublin Core to unite local heritage organizations the compromises and negotiations necessary to build a common catalog for multiple collaborating organizations the challenges of creating contextual information that places objects in relationship to their creators and the circumstances of their use the partnership between museums with Native American collections and tribally controlled schools the types of images indexed by museum practitioners indexing procedures and systems identifying potentially sensitive information for inclusion or exclusion in online collection databases Collaborative Access to Virtual Museum Collection Information: Seeing Through the Walls is cutting-edge information for museum archivists, librarians, collection curators, and anyone involved in creating catalogs or providing online access to existing museum collection information.

Sustainability and Historic Preservation: Towards a Holistic View broadens the horizons of the mushrooming drive to correlate the objectives of these two spheres. To date, discussions of the relationship between historic preservation and sustainability have generally focused on the energy consumption of buildings. The nine chapters in this book show how that agenda can and should be expanded by examining many other facets of the environment, including agricultural lands, urban waterworks, irrigation systems, natural settings, an arboretum, and post-World War II suburbs. Written by specialists from a variety of disciplines anthropology, architecture, landscape architecture, and urban history among them the contents explore new realms in which historic preservation and sustainability can have common purpose. This book addresses subjects of concern to many persons engaged in both fields and argues the case for creating a greater spectrum of common ground between them.

Museums and Design for Creative Lives questions what we sacrifice when we allow economic imperatives to shape public museums, whilst also considering the implications of these new museum realities. It also asks: how might we instead design for creative lives? Drawing together 28 case studies of museum design spanning 70 years, the book explores the spatial and social forms that comprise these successful examples, as well as the design methodologies through which they were produced. Re-activating a well-trodden history of progressive museum design and raising awareness of the involvement of the built forms in how we feel, think and act, MacLeod provides strategies and methods to actively counter the economisation of museums and a call to museum makers to work beyond the economic and advance this deeply human history of museum making. Museums and Design for Creative Lives will be of great interest to academics and students in museum studies, gallery studies, heritage studies, arts management, communication and architecture and design departments, as well as those interested in understanding more about design as a resource in museums. The book provides a valuable resource for museum leaders and practitioners.

Museums and Design for Creative Lives questions what we sacrifice when we allow economic imperatives to shape public museums, whilst also considering the implications of these new museum realities. It also asks: how might we instead design for creative lives? Drawing together 28 case studies of museum design spanning 70 years, the book explores the spatial and social forms that comprise these successful examples, as well as the design methodologies through which they were produced. Re-activating a well-trodden history of progressive museum design and raising awareness of the involvement of the built forms in how we feel, think and act, MacLeod provides strategies and methods to actively counter the economisation of museums and a call to museum makers to work beyond the economic and advance this deeply human history of museum making. Museums and Design for Creative Lives will be of great interest to academics and students in museum studies, gallery studies, heritage studies, arts management, communication and architecture and design departments, as well as those interested in understanding more about design as a resource in museums. The book provides a valuable resource for museum leaders and practitioners.

Reshaping Museum Space pulls together the views of an international group of museum professionals, architects, designers and academics highlights the complexity, significance and malleability of museum space, and provides reflections upon recent developments in museum architecture and exhibition design.

Various chapters concentrate on the process of architectural and spatial reshaping, and the problems of navigating the often contradictory agendas and aspirations of the broad range of professionals and stakeholders involved in any new project.

Contributors review recent new build, expansion and exhibition projects questioning the types of museum space required at the beginning of the twenty-first century and highlighting a range of possibilities for creative museum design.

Essential reading for anyone involved in creating, designing and project managing the development of museum exhibits, and vital reading for students of the discipline.

Reshaping Museum Space pulls together the views of an international group of museum professionals, architects, designers and academics highlights the complexity, significance and malleability of museum space, and provides reflections upon recent developments in museum architecture and exhibition design.

Various chapters concentrate on the process of architectural and spatial reshaping, and the problems of navigating the often contradictory agendas and aspirations of the broad range of professionals and stakeholders involved in any new project.

Contributors review recent new build, expansion and exhibition projects questioning the types of museum space required at the beginning of the twenty-first century and highlighting a range of possibilities for creative museum design.

Essential reading for anyone involved in creating, designing and project managing the development of museum exhibits, and vital reading for students of the discipline.

Re-envisioning the Contemporary Art Canon: Perspectives in a Global World seeks to dissect and interrogate the nature of the present-day art field, which has experienced dramatic shifts in the past 50 years. In discussions of the canon of art history, the notion of 'inclusiveness', both at the level of rhetoric and as a desired practice is on the rise and gradually replacing talk of 'exclusion', which dominated critiques of the canon up until two decades ago. The art field has dramatically, if insufficiently, changed in the half-century since the first protests and critiques of the exclusion of 'others' from the art canon. With increased globalization and shifting geopolitics, the art field is expanding beyond its Euro-American focus, as is particularly evident in the large-scale international biennales now held all over the globe. Are canons and counter-canons still relevant? Can they be re-envisioned rather than merely revised? Following an introduction that discusses these issues, thirteen newly commissioned essays present case studies of consecration in the contemporary art field, and three commissioned discussions present diverse positions on issues of the canon and consecration processes today. This volume will be of interest to instructors and students of contemporary art, art history, and museum and curatorial studies.

On August 6, 1945, the B-29 Enola Gay dropped an atomic bomb on Hiroshima, Japan, which ushered on the end of World War II. For the 50th anniversary of this major event in world history, the National Air and Space Museum of the Smithsonian Institute produced an exhibit. A controversy erupted, however, over the exhibit's historical authenticity. Nostalgic veterans, for example, complained that the museum displayed a misrepresented version of history that was too politically correct. After concisely covering the background of the Enola Gay and its mission, this study focuses on the controversy surrounding the museum exhibit. Issues covered include casualty figures, ethical questions, and political correctness, among others. The viewpoints of such groups as museum personnel, exhibit organizers, veterans, and historians are covered. Appendices offer information on content analysis of the National Air and Space Museum exhibit script, non-museum materials that were intended to complement the exhibit script, and the importance of full disclosure in research.

Registration Methods for the Small Museum has been the definitive guide to registration methodology for small museums since 1978. The book covers all aspects of the registration process and provides practical solutions for the small museum professional in a concise, readable manner. This step-by-step guide begins with developing policy and takes the reader through acquisition, numbering, accessioning, documentation, loans, and deaccessioning. It is a great introduction to both manual and computer systems and can help those that are unfamiliar with museum registration systems learn more about their collections. The fifth edition updates the handbook to fit the registration systems in today's small museums and provides additional forms that weren't in previous additions of the book. Features include: oEasy to understand forms and templates oOverviews of both manual and computer registration systems oOverview of the acquisition process oOverview of the cataloging process oOverviews of museum loans oExamples of a collections policy and registration manual for a small museum oGuidance for small museums on how to create a new registration system or interpret the one they have

A member of the art history generation from the golden age of the 1920s and 1930s, Millard Meiss (1904-1975) developed a new and multi-faceted methodological approach. This book lays the foundation for a reassessment of this key figure in post-war American and international art history. The book analyses his work alongside that of contemporary art historians, considering both those who influenced him and those who were receptive to his research. Jennifer Cooke uses extensive archival material to give Meiss the critical consideration that his extensive and important art historical, restoration and conservation work deserves. This book will be of interest to scholars in art history, historiography and heritage management and conservation.

Through both longer essays and shorter case studies, this book examines the relationship of European women from various countries and backgrounds to collecting, in order to explore the social practices and material and visual cultures of collecting in eighteenth-century Europe. It recovers their lives and examines their interests, their methodologies, and their collections and objects-some of which have rarely been studied before. The book also considers women's role as producers, that is, creators of objects that were collected. Detailed examination of the artefacts-both visually, and in relation to their historical contexts-exposes new ways of thinking about collecting in relation to the arts and sciences in eighteenth-century Europe. The book is interdisciplinary in its makeup and brings together scholars from a wide range of fields. It will be of interest to those working in art history, material and visual culture, history of collecting, history of science, literary studies, women's studies, gender studies, and art conservation.

Curating Under Pressure breaks the silence surrounding curatorial self-censorship and shows that it is both endemic to the practice and ubiquitous. Contributors map the diverse forms such self-censorship takes and offer creative strategies for negotiating curatorial integrity. This is the first book to look at pressures to self-censor and the curatorial responses to these pressures from a wide range of international perspectives. The book offers examples of the many creative strategies that curators deploy to negotiate pressures to self-censor and gives evidence of curators' political acumen, ethical sagacity and resilience over the long term. It also challenges the assumption that self-censorship is something to be avoided at all costs and suggests that a decision to self-censor may sometimes be politically and ethically imperative. Curating Under Pressure serves as a corrective to the assumption that censorship pressures render practitioners impotent. It demonstrates that curatorial practice under pressure offers inspiring models of agency, ingenuity and empowerment. Curating Under Pressure is a highly original and intellectually ambitious volume and as such will be of great interest to students and academics in the areas of museum studies, curatorial and gallery studies, art history, studio art and arts administration. The book will also be an essential tool for museum practitioners.

Managing Natural Science Collections demonstrates the need for consistency and evidence-based decision making in the management of natural science collections, which are becoming increasingly valuable when it comes to addressing societal challenges. Drawing upon the experience of four experts who have managed some of the largest and most diverse collections in the world, the book aims to assist in the making of strategic and operational decisions regarding care, development, access and resource management. Encouraging the reader to consider how collection strategies can be aligned with the mission of their institution and contribute to its vision, the authors also examine ways to deliver a consistent approach that will secure the present and future availability and relevance of collections. Principles of good practice and resource optimisation in an ethical and legal context are provided throughout the book, as well as case studies, sample documents and templates, all of which will be useful for discussion and teaching. Managing Natural Science Collections encourages each reader to consider the different options available to them. As such, it should be essential reading for museum practitioners and other professionals around the world who are involved with any strategic aspect of managing natural science collections. Students of museum studies will also find much to interest them within the pages of this book.

Fueled by a flourishing capitalist economy, undergirded by advancements in architectural design and urban infrastructure, and patronized by growing bourgeois and elite classes, New York's built environment was dramatically transformed in the 1870s and 1880s. This book argues that this constituted the formative period of New York's modernization and cosmopolitanism-the product of a vital self-consciousness and a deliberate intent on the part of its elite citizenry to create a world-class cultural metropolis reflecting the city's economic and political preeminence. The interdisciplinary essays in this book examine New York's late nineteenth-century evolution not simply as a question of its physical layout but also in terms of its radically new social composition, comprising the individuals, institutions, and organizations that played determining roles in the city's cultural ascendancy.

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.

This book explores the ways in which Nordic private collectors displayed their collections of Chinese objects in their homes. This leads to a reconsideration of how to define collecting and display by analysing the difference between objects serving as decorative or collectible items, while tracing collecting and display trends of the twentieth century. Minna Toerma examines four Scandinavian collections as case studies: Kustaa Hiekka, Sophus Black, Osvald Siren and Marie-Louise and Gunnar Didrichsen, all of whom had professional backgrounds (a jeweler, two businessmen and a scholar) and for whom collecting became a passion and an educational endeavour. This book will be of interest to scholars in art history, museum studies, Chinese studies and design history.

The year 2018 marks the twentieth anniversary of the signing of the Belfast Agreement that initiated an uneasy peace in Northern Ireland after the forty years of the Troubles. The last twenty years, however, has still not been sufficient time to satisfactorily resolve the issue of how to deal with the events of the conflict and the dissonant heritages that both gave rise to it and were, in turn, fuelled by it. With contributions from across the UK and Europe, Heritage after Conflict brings together a range of expertise to examine the work to which heritage is currently being put within Northern Ireland. Questions about the contemporary application of remembering infiltrate every aspect of heritage studies, including built heritages, urban regeneration and planning, tourism, museum provision and intangible cultural heritages. These represent challenges for heritage professionals, who must carefully consider how they might curate and conserve dissonant heritages without exacerbating political tensions that might spark violence. Through a lens of critical heritage studies, contributors to this book locate their work within the wider contexts of post-conflict societies, divided cities and dissonant heritages. Heritage after Conflict should be essential reading for academics, researchers and postgraduate students engaged in the study of the social sciences, history, peace studies, economics, cultural geography, museum heritage and cultural policy, and the creative arts. It should also be of great interest to heritage professionals.

'Conservation: Principles, Dilemmas, and Uncomfortable Truths' presents multi-perspective critical analyses of the ethics and principles that guide the conservation of works of art and design, archaeological artefacts, buildings, monuments, and heritage sites on behalf of society. Contributors from the fields of philosophy, sociology, history, art and design history, museology, conservation, architecture, and planning and public policy address a wide range of conservation principles, practices, and theories from the US, Canada, Europe, Australia and New Zealand, encouraging the reader to make comparisons across subjects and disciplines. By wrestling with and offering ways of disentangling the ethical dilemmas confronting those who maintain and sustain cultural heritage for today and tomorrow, 'Conservation: Principles, Dilemmas, and Uncomfortable Truths' provides an essential reference text for conservation professionals, museum and heritage professionals, art and cultural historians, lecturers and students, and all others invested in cultural heritage theories and practices. Alison Richmond, as a Senior Conservator in the Victoria and Albert Museum and Deputy Head of the Conservation Department at the Royal College of Art, maintains teaching and research roles in conservation theory, principles and ethics, and has developed decision-making tools for conservators. She is an Accredited Conservator-Restorer (ACR), a Fellow of the International Institute for Conservation (FIIC), and a Trustee of the UK's Institute of Conservation (Icon) since 2005. Alison Bracker received her PhD in the History of Art from the University of Leeds, and manages the Events & Lectures programme at the Royal Academy of Arts in London. As co-founder of Bracker Fiske Consultants, she advises on the presentation, description, documentation, and care of artworks comprising modern media, and lectures and publishes widely on the theoretical and practical issues arising from the conservation of non-traditional and impermanent materials in contemporary works of art.

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.

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.

Museums and the Ancient Middle East is the first book to focus on contemporary exhibit practice in museums that present the ancient Middle East. Bringing together the latest thinking from a diverse and international group of leading curators, the book presents the views of those working in one particular community of practice: the art, archaeology, and history of the ancient Middle East. Drawing upon a remarkable group of case studies from many of the world's leading museums, including the British Museum, the Louvre, the Metropolitan Museum of Art, the Ashmolean Museum, and the Vorderasiatisches Museum in Berlin, this volume describes the tangible actions curators have taken to present a previously unseen side of the Middle East region and its history. Highlighting overlaps and distinctions between the practices of national, art, and university museums around the globe, the contributors to the volume are also able to offer a unique insight into the types of challenges and opportunities facing the twenty-first century curator. Museums and the Ancient Middle East should be of interest to academics and students engaged in the study of museums and heritage, archaeology, the ancient Near East, Middle Eastern studies, and ancient history. The unique insights provided by curators active in the field ensure that the book should also be of great interest to museum practitioners around the globe.

This book focuses on a forgotten place-the Khami World Heritage site in Zimbabwe. It examines how professionally ascribed values and conservation priorities affect the cultural landscape when there is a disjuncture between local community and national interests, and explores the epistemic violence that often accompanied colonial heritage management and archaeology in southern Africa. The central premise is that the history of the modern Zimbabwe nation, in terms of what is officially remembered and celebrated, inevitably determines how that past is managed. It is about how places are experienced and remembered through narratives and how the loss of this heritage memory may mark the un-inheriting of place. Memory and Cultural Landscape at the Khami World Heritage Site, Zimbabwe is informed by the author's experience of living near and working at Great Zimbabwe and Khami as an archaeologist, and uses archives and traditional narratives to build a biography for this lost cultural landscape. Whereas Great Zimbabwe is a resource for the state's contentious narrative of unity, and a tool for cultural activism among communities whose cultural rights are denied through the nationalisation and globalisation heritage, at Khami, which has lost its historical gravity, there is only silence. Researchers and students of cultural heritage will find this book a much-needed case study on heritage, identity, community and landscape from an African perspective.