First published in 1998, this volume explores the expanding wave of a new kind of museums of contemporary art in the nineteenth and early twentieth centuries. Lorente examines their 'coming of age' and the weight of their museological legacy, arguing that the establishment of great national museums of art at London and Paris radiated out, carrying their influence with it. This book emerged as part of a series on towns and cities and has a focus on London and Paris as centres of artistic innovation.

Arts and Cultural Management: Sense and Sensibilities in the State of the Field opens a conversation that is much needed for anyone identifying arts management or cultural management as primary areas of research, teaching, or practice. In the evolution of any field arises the need for scrutiny, reflection, and critique, as well as to display the advancements and diversity in approaches and thinking that contribute to a discipline's forward progression. While no one volume could encompass all that a discipline is or should be, a representational snapshot serves as a valuable benchmark. This book is addressed to those who operate as researchers, scholars, and practitioners of arts and cultural management. Driven by concerns about quality of life, globalization, development of economies, education of youth, the increasing mobility of cultural groups, and many other significant issues of the twenty-first century, governments and individuals have increasingly turned to arts and culture as means of mitigating or resolving tough policy issues. For their growth, arts and culture sectors depend on people in positions of leadership and management who play a significant role in the creation, production, exhibition, dissemination, interpretation, and evaluation of arts and culture experiences for publics and policies. Less than a century old as a formal field of inquiry, however, arts and cultural management has been in flux since its inception. What is arts and cultural management? remains an open question. A comprehensive literature on the discipline, as an object of study, is still developing. This State of the Discipline offers a benchmark for those interested in the evolution and development of arts and cultural management as a branch of knowledge alongside more established disciplines of research and scholarship.

As economic, technological and cultural change gathers pace across the world, issues of music heritage and sustainability have become ever more pressing. Discourse on intangible cultural heritage has developed in complex ways in recent years, and musical practices have been transformed by safeguarding agendas. Music as Heritage takes stock of these transformations, bringing new ethnographic and historical perspectives to bear on our encounters with music heritage. The volume evaluates the cultural politics, ethics and audiovisual representation of music heritage; the methods and consequences of music transmission across national borders; and the perennial issues of revival, change and innovation. UNESCO's 2003 Convention for the Safeguarding of the Intangible Cultural Heritage provides an essential reference point for studies of music heritage. However, this volume also pays attention to important spheres of musical activity that lie outside of UNESCO's reach and the reasons why some repertories of music are chosen for safeguarding while others are not. Some practices of art music in Europe explored in this book, for example, have received little attention despite being susceptible to endangerment. Developing a comparative framework that cuts across genre distinctions and disciplinary boundaries, Music as Heritage explores how music cultures are being affected by heritage discourse and the impact of international and national policies on grass-roots music practices.

Trauma, Cultural Complexes, and Transformation: Folk Narratives and Present Realities contributes to our understanding of how culturally traumatic events affect present day realities, and suggests the potential for healing by combining theories on psychological trauma, cultural complexes, and transformations. It draws on insight from a range of disciplines, including Jungian psychology, literary criticism, folkloristics, neurosciences, quantum physics, and social studies. Evija Volfa Vestergaard maps folk narratives of human encounters with extra-human entities as communications of cultural traumas suffered by tellers who are embedded in particular historical and geographical settings, focusing on the little-explored globally emerging cultures of Latvia and South Africa, alongside the United States of America. These cultural narratives form a bridge to a discourse on the social, political, and economic issues faced by these countries and the world at large. Vestergaard outlines the parallels between dreams and visions of individuals essential in healing, and the mythological legend genre serving the same function for groups and cultures, demonstrating that the aim of these open-ended communications is not only to reveal hidden truth, but also to stir our imagination about potentialities. Healing of traumas demands a world of global relatedness based on nurturing kinship, and such a transformation begins with imagining. Trauma, Cultural Complexes, and Transformation represents essential reading for academics and students of Jungian and post-Jungian studies, folklore, psychology, cultural studies and anthropology, as well as Jungian analysts and psychotherapists.

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.

Series Information:
Museum Meanings

Well-known public historian Robert Archibald's personal exploration of the intersections of history, memory, and community reveals how we participate in the making and sustaining of community as well as how we remember the community that shaped us. Writing in a rich literary narrative, Archibald blends local history, personal reminiscence, and an analysis of the changing meaning of community with a passionate call for more effective public history. A Place to Remember poetically illustrates how we are active participants in the past and the role and importance of history in contemporary life.

Collaboration and interdisciplinary practice in the museum are on the rise. Academics, Artists, and Museums examines twenty-first century partnerships between the museum and higher education sectors, with a focus on art museums and exhibits. The edited volume offers detailed analysis of how innovative curatorial relationships between museums and academia have sought to engage new, younger, audiences through the collaborative transformation of museums and exhibitions. Thematic topics explored include the forming and nature of interdisciplinary partnerships, the integration of museum learning into higher education, audience engagement, and digital technology. With a particular emphasis on practice in the US, the range of projects discussed includes those at both widely recognized and lesser known institutions, from The Met to the Tohono O'odham Nation Cultural Center in the US, to Ewha University Museum in South Korea, and Palazzo Strozzi in Italy. The role of art and the work of the artist are firmly positioned at the core of many of the relationships explored. Academics, Artists, and Museums advocates for the museum as an experimental 'laboratory' where academia, art and the museum profession can combine to engage new audiences. It is a useful resource for museum professionals, artists, scholars, and students interested in collaboration and innovative practice.

Children are one of the major audiences for museums, but their visits are often seen solely from the point of view of museum learning. In Snapshots of Museum Experience, Will Buckingham draws upon Elee Kirk's research amongst child visitors to the Oxford University Museum of Natural History, to take a different approach. Using a method of photo-elicitation with four-and five-year-old child visitors to the museum, the book investigates children's experience of the museum, and in the process undermines many of our assumptions about the interests, needs and demands of child museum visitors. Drawing together the fields of museum studies and childhood studies, the book considers children as active creators of the museum visit. It investigates the way that children navigate and take control of the physical and social spaces of the museum, finding their own idiosyncratic pathways through these spaces. It also explores how elements of the museum 'light up', becoming salient to the child visitor. Finally, it investigates how children make sense through intellectually and imaginatively engaging with these elements of the museum visit. Snapshots of Museum Experience gives a unique insight into the sheer diversity of children's museum experiences and discusses how museums might cater more successfully to the needs of their child visitors. As such, it should be of great interest to academics, researchers and students in the fields of museum studies, visitor studies and childhood studies. It should also be essential reading for museum educators and exhibition designers.

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.

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.

The assumption that museum exhibitions, particularly those concerned with science and technology, are somehow neutral and impartial is today being challenged both in the public arena and in the academy. The Politics of Display brings together studies of contemporary and historical exhibitions and contends that exhibitions are never, and never have been, above politics. Rather, technologies of display and ideas about 'science' and 'objectivity' are mobilized to tell stories of progress, citizenship, racial and national difference. The display of the Enola Gay, the aircraft which dropped the atomic bomb on Hiroshima is a well-known case in point.
The Politics of Display charts the changing relationship between displays and their audience and analyzes the consequent shift in styles of representation towards interactive, multimedia and reflexive modes of display. The Politics of Display brings together an array of international scholars in the disciplines of sociology, anthropology and history. Examples are taken from exhibitions of science, technology and industry, anthropology, geology, natural history and medicine, and locations include the United States of America, Australia, the United Kingdom, France, the Netherlands and Spain.
This book is an excellent contribution to debates about the politics of public culture. It will be of interest to students of sociology, anthropology, cultural studies, museum studies and science studies.

The assumption that museum exhibitions, particularly those concerned with science and technology, are somehow neutral and impartial is today being challenged both in the public arena and in the academy. The Politics of Display brings together studies of contemporary and historical exhibitions and contends that exhibitions are never, and never have been, above politics. Rather, technologies of display and ideas about 'science' and 'objectivity' are mobilized to tell stories of progress, citizenship, racial and national difference. The display of the Enola Gay, the aircraft which dropped the atomic bomb on Hiroshima is a well-known case in point.
The Politics of Display charts the changing relationship between displays and their audience and analyzes the consequent shift in styles of representation towards interactive, multimedia and reflexive modes of display. The Politics of Display brings together an array of international scholars in the disciplines of sociology, anthropology and history. Examples are taken from exhibitions of science, technology and industry, anthropology, geology, natural history and medicine, and locations include the United States of America, Australia, the United Kingdom, France, the Netherlands and Spain.
This book is an excellent contribution to debates about the politics of public culture. It will be of interest to students of sociology, anthropology, cultural studies, museum studies and science studies.

Ceramics and the Museum interrogates the relationship between art-oriented ceramic practice and museum practice in Britain since 1970. Laura Breen examines the identity of ceramics as an art form, drawing on examples of work by artist-makers such as Edmund de Waal and Grayson Perry; addresses the impact of policy making on ceramic practice; traces the shift from object to project in ceramic practice and in the evolution of ceramic sculpture; explores how museums facilitated multisensory engagement with ceramic material and process, and analyses the exhibition as a text in itself. Proposing the notion that 'gestures of showing,' such as exhibitions and installation art, can be read as statements, she examines what they tell us about the identity of ceramics at particular moments in time. Highlighting the ways in which these gestures have constructed ceramics as a category of artistic practice, Breen argues that they reveal gaps between narrative and practice, which in turn can be used to deconstruct the art.

The post-colonial world has seen a major re-evaluation of the insititutions and ideologies of colonialism. Post-colonial theory has enriched our understanding of the history and literature of colonial periods. With reference to this trend, this collection examines the artistic production of both imperial nations and their colonies and aims to show how it was affected by colonial contact. Drawing together an international group of scholars from a variety of disciplinary and cultural backgrounds, it presents case studies of objects from India, Pakistan, New Zealand, China and Africa which were collected by or exhibited in the institutions of the British Empire. Other chapters address issues of racial identity across cultural barriers and the hybrid styles which can emerge when cultures meet. The contributors also consider how we, in the post-colonial era, should interpret the cultural production of the colonial world and how through displaying these objects, contemporary museum practice can address the artistic inheritance of colonialism.

In 2015, the General Assembly of State Parties to the World Heritage Convention passed a ground-breaking Sustainable Development policy that seeks to bring the World Heritage system into line with the UN's sustainable development agenda (UNESCO 2015). World Heritage and Sustainable Development provides a broad overview of the process that brought about the new policy and the implications of its enactment. The book is divided into four parts. Part I puts the policy in its historical and theoretical context, and Part II offers an analysis of the four policy dimensions on which the policy is based - environmental sustainability, inclusive social development, inclusive economic development and the fostering of peace and security. Part III presents perspectives from IUCN, ICOMOS and ICCROM - the three Advisory Bodies to the World Heritage Committee, and Part IV offers 'case study' perspectives on the practical implications of the policy. Contributions come from a wide range of experienced heritage professionals and practitioners who offer both 'inside' perspectives on the evolution of the policy and 'outside' perspectives on its implications. Combined, they present and analyse the main ideas, debates and implications of the policy change. This book is key reading for all heritage professionals interested in developing a better understanding of the new Sustainable Development policy. It is also essential reading for scholars and students working in the area.

Michael A. Fopp examines the highly sophisticated principles and techniques of modern business management from the perspective of museums and galleries and delineates their practical application. This volume surveys the day-to-day issues of time management, delegation and recruitment to the problems of strategic planning and initiating and controlling conflict and change. The study incorporates the needs of both the independent and national sectors and discusses the links between the museum and commerce.

US Public Memory, Rhetoric, and the National Mall examines "the nation's front yard," understanding it as both a public face the United States presents to the world and a site where its less apparent moral story is told. This book provides a uniquely thorough, interdisciplinary, and integrated examination of how the National Mall shares a moral story of the United States and, in so doing, reveals the soul of the nation. The contributors explore 11 different memorials, monuments, and museums found across the Mall, considering how each rhetorically remembers a key element of the nation's past, what the rhetorical memory tells us about the nation's soul, and how each site must thus be understood in relation to the commemorative landscape of the Mall.

The history of the museum is one of shifting purposes and changing ideals. Taking a close look at the specific needs of this sector, this volume asks if it is possible to define the "product" which the modern museum can offer. Are the theories of marketing developed for manufactured goods in any way relevant to the experience of visiting a museum? Or, as anti-marketing lobbyists believe, should marketing play only the smallest of roles, if any at all? In this volume, the marketing of a museum is not seen in terms of "product", but rather as the process by which one can build a relationship between the museum and the public. This study shows how museums can overcome the numerous hurdles on the route to achieving a marketing orientation. It gives practical guidelines to the specific ways in which marketing can be tailored to the needs of museums and play a useful and acceptable role in today's museums, in achieving their ultimate purpose of serving the community.

Providing an overview of the marketing principles and tools that pertain to the area of heritage conservation services, this book combines research and practice to offer an alternative to the classical transactional marketing approach. Instead, the author argues for the relationship marketing approach, promoted and adopted by the Nordic School of Service Marketing. Offering a startlingly rare, but logical and practical marketing approach, this book also provides food for thought for academics dealing with managerial and marketing aspects in the field of cultural heritage and cultural heritage services.

eBook available with sample pages: HB:0415917034

A feminist literary theorist, specialist in Rembrandt, and a scholar with a knack for reading Old Testament stories, Mieke Bal weaves a tapestry of signs and meanings that enrich our senses. Her subject is the act of showing, the gesture of exposing to view. In a museum, for example, the object is on display, made visually available. "That's how it is," the display proclaims. But who says so?
Bal's subjects are displays from the American Museum of Natural History, paintings by such figures as Courbet, Caravaggio, Artemisia Gentileschi, and Rembrandt, as well as works by twentieth-century artists, and such literary texts as Shakespeare's "Rape of Lucrece."

'Chemical Principles of Textile Conservation' provides must-have knowledge for conservators who do not always have a scientific background. This vital book brings together from many sources the material science necessary to understand the properties, deterioration and investigation of textile artefacts. It also aids understanding of the chemical processes during various treatments, such as: cleaning; humidification; drying; disinfestation; disinfection; and the use of adhesives and consolidants in conservation of historical textiles. Textile conservators will now have ready access to the necessary knowledge to understand the chemistry of the objects they are asked to treat and to make informed decisions about how to preserve textiles. The combination of a chemist and a conservator provides the perfect authorial team. It ensures a unique dual function of the text which provides textile conservators with vital chemical knowledge and gives scientists an understanding of textile conservation necessary to direct their research. The many practical examples and case studies illustrate the utility of the relatively large chemical introduction and the essential chemical information which is included. The case studies, many illustrated in colour, range from the treatment of the Ghandis' clothes, high-altitude flying suits and a Mary Quant raincoat, to the Hungarian Coronation Mantle.

'This is a useful addition to the library for anyone who is dealing with enquirers considering a career in the field and it also provides some food for thought for any mid-career professional wishing to consider current trends.' - Tak tent, Scottish Museums Council Newsletter

A stable and well-managed endowment can be the key to a museum's financial strength. But how do you establish and maintain an endowment that is right for your organization and its future? With easily accessible language and case studies of real museums to illuminate major points, Endowment Essentials for Museums provides guidance on the establishment and oversight of endowments, including how to: Plan for and build an endowment fund Create opportunities to grow the endowment through fundraising and investment management Incorporate endowment management into institutional planning Foster transparency and shared knowledge about endowments between staff, trustees, and community members Evaluate and modify endowments accurately and according to best practices. Attending to endowment management at all stages, incorporating references from across the nonprofit spectrum, and designed to resonate with readers from a variety of backgrounds, Endowment Essentials for Museums invites forward-thinking museum professionals, trustees, and volunteers to enhance their knowledge about the endowments and the integral role it plays in the health of your museum.