China's Route Heritage examines the creation, development and proliferation of the route heritage discourse of the Ancient Tea Horse Road (Chamagudao), in the People's Republic of China. Examining the formation of the tea-horse road as a concept, its development as a platform for cultural branding, and its most recent interactions with the policy of the Belt and Road Initiative (BRI) and the revival of the discourse on the Silk Roads, the book demonstrates that the tea-horse road is an important part of the discourse on Chinese modernity. Describing the route heritage of the tea-horse road as a 'mobility narrative', whereby an ancient route is used to form a narrative of ethnic unity and cooperation, the book demonstrates that the study of such heritage offers unique insights into issues that are of concern to the wider field of critical heritage studies. Sigley also shows how the study of alternative route heritage enables us to gain a broader sense of route heritage discourse and its implications for the discussion of historical, present and future forms of mobility and connectivity within China and beyond its borders. China's Route Heritage should be of interest to researchers and postgraduate students who are engaged in the study of heritage, China, the Silk Roads and the BRI, politics, international relations and tourism.

Communities and Cultural Heritage explores the relationship between communities, their cultural heritage and the global forces that control most of the world's wealth and resources in today's world. Bringing together scholars and heritage practitioners from nine countries, this book contributes to the ongoing dialogue on community heritage by analysing impediments to full community participation. The underminin of local communities comes at a high price. As the chapters in this book demonstrate, the knowledge embedded within traditional and Indigenous heritage creates communities that are more resilient to environmental and social stressors and more responsive to contemporary challenges such as climate change, environmental degradation, post-disaster recovery and relocation. Cultural heritage practices often fail to capitalise upon local knowledge and traditional skills and undervalue the potential contribution of local communities in finding creative and resourceful solutions to the issues they are confronting. Arguing that the creation of successful community heritage project requires ongoing reflection on the aims, methods, financing and acceptable outcomes of projects, the volume also demonstrates that the decolonization of Western-focussed heritage practices is an ongoing process, by which subaltern groups are brought forward and given a space in the heritage narrative. Reflecting on trends that impact communities and heritage sites across different geographical regions, Communities and Cultural Heritage will be of interest to academics, students and practitioners of cultural heritage,archaeology and anthropology around the world.

This book considers the theme of exhibitions as political resistance as well as cultural critique from global perspectives including South Africa, Latin America, Eastern Europe, USA, and West Europe. includes contributions by ten authors from the fields of art history, social sciences, anthropology, museum studies, provenance research, curating and exhibition histories. examines exhibition reconstructions both as a symptom of advanced capitalism, geopolitical dynamics, and social uprisings, and as a critique of imperial and capitalist violence. Art historical areas covered in the book include conceptualism, minimalism, modern painting, global modernisms, archives, and community arts. will be of interest to a wide range of audiences including art historians, curators, gallery studies and museum professionals, but also scholars and students from the fields of anthropology, ethnography, sociology, and history. It would also appeal to a general public with an interest in modern and contemporary art exhibitions.

By juxtaposing theoretical and legal frameworks and conceptual contexts alongside a wide distribution of geographical and temporal case studies, this book throws light upon the risks, and the realizations, of art and heritage destruction. Exploring the variety of forces that drive the destruction of heritage, the volume also contains contributions that consider what forms heritage destruction takes and in which contexts and circumstances it manifests. Contributors, including local scholars, also consider how these drivers and contexts change, and what effect this has on heritage destruction and how we conceptualise it. Overall, the book establishes the importance of the need to study the destruction of art and cultural heritage within a wider framework that encompasses not only theory, but also legal, military, social, and ontological issues. The Routledge Handbook of Heritage Destruction will contribute to the development of a more complete understanding and analysis of heritage destruction The Handbook will be useful to academics, students and professionals with an interest in heritage, conservation and preservation, history and art history, archaeology, anthropology, philosophy and law.

Author Biography:
Richard Sandell is Lecturer in Museum Studies at the University of Leicester and Research Associate of RCMG (Research Centre for Museums and Galleries)

An array of visual cultural artefacts from countries around the world and a range of analytical/practical approaches are brought together, rendering the book suitable reading not only for such subjects as architecture, media and museum studies, but also art history, Japanese and Chinese studies, and history. Offers novel, pioneering insights into digital approaches - an area of rapidly increasing interest in the arts and humanities. Student friendly: Chapters are accessible, concise and jargon free and each includes a chapter summary, detailed bibliography, notes on further reading, links to additional resources. As additional teaching resources, the authors plan to supplement the book with an online 'Catalogue Raisonne', which represents a first effort towards creating a cinematic encyclopedia of lived domestic situations, a form of standardized visual spatial ethnography across cultures.

First published in 2001. Routledge is an imprint of Taylor & Francis, an informa company.

Beginning with the first comprehensive account of the discourse of appropriation that dominated the art world in the late 1970s and 1980s, Art After Appropriation suggests a matrix of inflections and refusals around the culture of taking or citation, each chapter loosely correlated with one year of the decade between 1989 and 1999. The opening chapters show how the Second World culture of the USSR gave rise to a new visibility for photography during the dissolution of the Soviet Union around 1989. Welchman examines how genres of ethnography, documentary and travel are crossed with fictive performance and social improvisation in the videos of Steve Fagin. He discusses how hybrid forms of subjectivity are delivered by a new critical narcissism, and how the Korean-American artist, Cody Choi converts diffident gestures of appropriation from the logic of material or stylistic annexation into continuous incorporated events. Art After Appropriation also examines the creation of public art from covert actions and social feedback, and how bodies participate in their own appropriation. Art After Appropriation concludes with the advent of the rainbow net, an imaginary icon that governs the spaces of interactivity, proliferation and media piracy at the end of the millennium.
John Welchman is Professor of Modern Art History, Theory and Criticism at the University of California, San Diego. He is the author of Modernism Relocated (1995) and Invisible Colors (1997); and editor of Rethinking Borders (1996), and a forthcoming three-volume anthology of the writings of LA artist MIke Kelley. Welchman has contributed to numerous journals, magazines, museum catalogues and newspapers, including Artforum; New York Times; Los Angeles Times; International Herald Tribune; Los Angeles County Museum of Art; Tate Gallery; Museum of Contemporary Art, Los Angeles; Reina Sofia, Madrid; Haus der Kunst, Munich

'The Organic Chemistry of Museum Objects' makes available in a single volume, a survey of the chemical composition, properties and analysis of the whole range of organic materials incorporated into objects and artworks found in museum collections. The authors cover the fundamental chemistry of the bulk materials such as wood, paper, natural fibres and skin products, as well as that of the relatively minor components incorporated as paint, media, varnishes, adhesives and dyes. This expanded second edition, now in paperback, follows the structure of the first, though it has been extensively updated. In addition to chapters on basic organic chemistry, analytical methods, analytical findings and fundamental aspects of deterioration, the subject matter is grouped as far as possible by broad chemical class - oils and fats, waxes, bitumens, carbohydrates, proteins, natural resins, dyestuffs and synthetic polymers. This is an essential purchase for all practising and student conservators, restorers, museum scientists, curators and organic chemists.

This book considers how we encounter and make meaning from extinction in diverse settings and cultures. It brings together an international and interdisciplinary range of scholars to consider how extinction is memorialised in museums and cultural institutions, through monuments, in literature and art, through public acts of ritual and protest, and in everyday practices. In an era in which species are becoming extinct at an unprecedented rate, we must find new ways to engage critically, creatively, and courageously with species loss. Extinction and Memorial Culture: Reckoning with Species Loss in the Anthropocene develops the conceptual tools to think in complex ways about extinctions and their aftermath, along with providing new insights into commemorating and mourning more-than-human lives. This book will be of great interest to students and scholars of the environmental humanities, extinction studies, memorial culture, and the Anthropocene.

This edited volume contributes theories and international examples for advancing conservation practice and providing best practice for the field that center people in conservation and collections care.

This collection explores the broad landscape of current and future out-of-school science learning environments. Written by leading experts and innovators in informal science learning, these thoughtful and critical essays examine the changing nature of informal institutions such as science museums, zoos, nature centers, planetariums, aquaria, and botanical gardens and their impact on science education. The book examines the learning opportunities and challenges created by community-based experiences including citizen science, makerspaces, science media, escape rooms, hobby groups, and gaming. Based on current practices, case studies, and research, the book focuses on four cross-cutting themes-inclusivity, digital engagement, community partnerships, and bridging formal and informal learning-to examine the transformation in how people learn science informally. The book will be of interest to science and technology educators - both in and out of school - designers of science and experiential education programs, and those interested in building STEM learning ecosystems in their communities.

The controversy surrounding the significant "Into the Heart of Africa" exhibit at the Royal Ontario Museum in Canada is explored in this compelling and analytical text. The exhibit has become an international, controversial touchstone for issues surrounding the politics of visual representation, such as the challenges to curatorial and ethnographic authority in multicultural and postcolonial contexts. Asking why the museum's exhibit failed so many people, the author examines such issues as institutional politics, the broad political and intellectual climate surrounding museums, the legacies of colonialism and traditions of representation of Africa, and the politics of irony.
By drawing upon anthropological and cultural criticism, the book offers a unique account of the ways in which an ambiguous exhibit about colonialism became the site of an expansiveInto the Heart of Africa."

Full Contributors:
Richard D. Altick, Arjun Appadurai, Tony Bennett, Carol A. Breckenridge, James Clifford, Philip Dodd, Carol Duncan, David Goodman, Stuart Hall, Robert Hewison, Eric Hobsbawn, Kenneth Hudson, Sharon Macdonald, Colin Mercer, Kevin Robins, Chris Rojek, Robert W. Rydell, Raphael Samuel, Roger Silverstone, Anthony D. Smith, John Urry, Patrick Wright

In this updated and revised second edition, Eilean Hooper-Greenhill incorporates recent and important articles that address the relationships of museums and galleries to their audiences. The Educational Role of the Museum covers broad themes relevant to providing for all museum visitors and also focuses specifically on educational groups. Contents include:
* new communication models for the museum
* problems in visitor orientation and circulation
* increased exhibit accessibility through multisensory interaction
* education: at the heart of museums.

This book explores how recent Colombian historical memories are informed by cultural diversity and how some of the country's citizens remember the brutalities committed by the Army, guerrillas, and paramilitaries during the internal war (1980-2016). Its chapters delve into four case studies. The first highlights the selections of what not to remember and what not to represent at the National Museum of the country. The second focuses on the well-received memories at the same institution by examining a display made to commemorate the assassination of a demobilized guerrilla fighter. The third discusses how a rural marginal community decided to vividly remember the attacks they experienced by creating a display hall to aid in their collective and individual healing. Lastly, the fourth case study, also about a rural peripheric community, discusses their way of remembering, which emphasizes peasant oral traditions through a traveling venue. By bringing violence, memory, and museum studies together, this text contributes to our understanding of how social groups severely impacted by atrocities recreate and remember their violent experiences. By drawing on displays, newspapers, interviews, catalogs, and oral histories, Jimena Perry shows how museums and exhibitions in Colombia become politically active subjects in the acts of reflection and mourning, and how they foster new relationships between the state and society. This volume is of great use to students and scholars interested in Latin American and public history.

What does 'Art' Mean Now? asks, and answers, fundamental questions about the nature of aesthetic experience and role of the arts in contemporary society. The Modern Age, Romanticism and beyond. viewed art as something transcending and separated from life, and usually something encountered in museums or classrooms. Nowadays, however, art tends to be defined not by a commonly agreed-upon standard of 'quality' or by its forms, such as painting and sculpture, but instead by political and ideological criteria. So how do we connect with the works in museums whose point was precisely they stood apart from such considerations? Can we and should we be educated to "appreciate" art-and what does it do for us anyway? What are we to make of the so-different newer works-installations, performances, excerpts from the world-held to be art that increasingly make it into museums? Adopting a subjectivist approach, this book argues that in the absence of a universal judgement or standard of taste, the experience of art is one of freedom. The arts and literature give us the means to conceptualize our lives, showing us ourselves as we are and as we might wish-or not wish-to be, as well as where we have been and where we are going. It will appeal to scholars of sociology, philosophy, museum studies, and art history, and to anyone interested in, or puzzled by, museums or college courses and their presentation of art today.

What does 'Art' Mean Now? asks, and answers, fundamental questions about the nature of aesthetic experience and role of the arts in contemporary society. The Modern Age, Romanticism and beyond. viewed art as something transcending and separated from life, and usually something encountered in museums or classrooms. Nowadays, however, art tends to be defined not by a commonly agreed-upon standard of 'quality' or by its forms, such as painting and sculpture, but instead by political and ideological criteria. So how do we connect with the works in museums whose point was precisely they stood apart from such considerations? Can we and should we be educated to "appreciate" art-and what does it do for us anyway? What are we to make of the so-different newer works-installations, performances, excerpts from the world-held to be art that increasingly make it into museums? Adopting a subjectivist approach, this book argues that in the absence of a universal judgement or standard of taste, the experience of art is one of freedom. The arts and literature give us the means to conceptualize our lives, showing us ourselves as we are and as we might wish-or not wish-to be, as well as where we have been and where we are going. It will appeal to scholars of sociology, philosophy, museum studies, and art history, and to anyone interested in, or puzzled by, museums or college courses and their presentation of art today.

Conflict, Cultural Heritage, and Peace offers a series of conceptual and applied frameworks to help understand the role cultural heritage plays within conflict and the potential it has to contribute to positive peacebuilding and sustainable development in post-conflict societies. Designed as a resource guide, this general volume introduces the multiple roles cultural heritage plays through the conflict cycle from its onset, subsequent escalation and through to resolution and recovery. In its broadest sense it questions what role cultural heritage plays within conflict, how cultural heritage is used in the construction and justification of conflict narratives and how are these narratives framed and often manipulated to support particular perspectives, and how we can develop better understandings of cultural heritage and work towards the better protection of cultural heritage resources during conflict. It moves beyond the protection paradigm and recognises that cultural heritage can contribute to building peace and reconciliation in post-conflict environments. The study offers a conceptual and operational framework to understand the roles cultural heritage plays within conflict cycles, how it can be targeted during war, and the potential cultural heritage has in positive peacebuilding across the conflict lifecycle. Conflict, Cultural Heritage, and Peace offers an invaluable introduction to cultural heritage at all stages in conflict scenarios which will benefit students, researchers and practitioners in the field of heritage, environment, peace and conflict studies.

A comprehensive bibliography and exhibition chronology of the world's greatest museum of the decorative arts and design. The Victoria and Albert Museum, or South Kensington Museum as it used to be known, was founded by the British Government in 1852, out of the proceeds from the Great Exhibition of 1851. Like the Exhibition, it aimed to improve the expertise of designers, and the taste of the public, by exposing them to examples of good design from all countries and periods.
2,500 publications have to date been produced by, for, or in association with the V&A. The National Art Library, which is part of the Museum, has prepared this detailed catalogue, supplemented by a secondary list of 500 other books closely related to the V&A. The 1,500 exhibitions and displays recorded include those held in the main Museum and at its branches, the Bethnal Green Museum (now the National Museum of Childhood) and the Theatre Museum, Covent Garden, and additionally those it has organized at external venues, in Great Britain and abroad. The exhibitions and publications are fully cross-referenced, and there are name, title and subject indexes to the whole work, as well as an explanatory introduction.

Drawing on an extensive range of examples from museums and across the museological literature, which are purposefully representative of very different cultural backgrounds, the book issues a plea for critical thinking in and about museums. The various institutions covered and the plural analytical standpoints offer a broad interdisciplinary approach by intermingling art history, anthropology, sociocultural theories, and heritage studies. The result is not claimed as a universal or all-encompassing account, but a subjective review produced by J. Pedro Lorente, an art critic and historian who has been writing extensively about 'critical museology' in different languages for many years. Lorente offers a fascinating synopsis of his ideas in this extremely valuable short book, looking inside and outside museums, combining practice and theory, whilst also relating both to the work of museum professionals and to a range of publications by academics, including those from other research fields. Reflections on Critical Museology: Inside and Outside Museums will be essential reading for university students and academics working in museum studies and cognate disciplines, such as art history, anthropology and cultural studies.

Series Information:
Museum Meanings

The development of interactive displays has transformed the traditional museum world in the last decade. Visitors are no longer satisfied by simply gazing at worthy displays in glass cases - they expect to have hands-on experience of the objects and be actively involved with the exhibits, learning informally and being entertained simultaneously. Hands-on museums and science centres provide the most remarkable example of how museums are redefining their roles in society - improving access to real objects and real phenomena, so that they can be enjoyed by more people.
In recent years museums have been thrust into intense competition for the public's time and money with all branches of the leisure industry, from commercial theme parks to retail shopping and home entertainment. This has upset the traditional stability of the museum and their visitors. A hands-on approach encourages a broader visitor base, which in turn helps to bring in additional revenue at a time of declining public subsidy.
Tim Caulton investigates how to create and operate effective exhibitions which achieve their educational objectives through hands-on access. He concludes that the continuing success of hands-on museums and science centres hinges on attaining the very best practice in exhibition design and evaluation, and in all aspects of operations, including marketing and financial and human resource management. Hands-On Exhibitions provides a practical guide to best practice which will be indispensable to all museum professionals and students of museum studies.

Suzanne Keene's pioneering book shows how museums and other cultural organizations fit into the new world of information and electronic communications and, most importantly, how they can take advantage of what it has to offer.

By using new technology museums can build knowledge bases around information about collections. A collection object can be the central link for information about past and present, places, people and concepts, technologies, ways of working and evidence of the natural world. 'Digital Collections' explains how this vision can be realized. Sound, video and animations can be digitized and developed as a central resource that can be drawn on for many varied access routes: via the World Wide Web; CD ROMs; through on-gallery screens, and other future products still in development.
These technological capabilities raise many compelling issues that need to be understood in order to successfully develop information collections. In this book Suzanne Keene reviews these issues clearly and comprehensively. Her accompanying Click-Through Guide provides the latest news and links to Internet information:
http: //www.users.dircon.co.uk/~s-keene/infoage/infoage.htm
Suzanne Keene is a senior manager of museum collections and information at the Science Museum, London. She led the UK LASSI project to select a collections information system for UK museums. This, with her experience in directing information technology and multimedia projects, means that she is accustomed to translating the highly technical concepts of information technology into high level issues for senior and strategic management.
* Explains the Information Age/Information Economy and thestrategic implications for museums
* Describes the effects of increasing use of IT in museums and its future developments